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EducT
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txK^T^si.or.^i^
3&arbarli College iibrars
LIBRARY OF THE
Department of Education
COLLECTION OF TEXT-BOOKS
Contributed by the Publishers
TRANSFERRED
HARVARD COLLEGE
LIBRARY
3 2044 097 081 350
(Page 74)
"THE MOON CHANGES INTO THE RED BEARD OF THE
OLD SOLDIER"
CHILDREN'S CLASSICS
IN DRAMATIC FORM
A READER FOR THE FOURTH GRADE
BY
AUGUSTA |TEVENSON
FORMERLY A TEACHER IN THE INDIANAPOLIS
PUBUC SCHOOLS
rj:^S-m7WS-JITr,
HOUGHTON MIFFLIN COMPANY
Boston : 4 Park Street ; New York: 85 ]B1fth Avenne
Chicagro: 378-388 Wabash Avenne
^it Ititiec^de ftt00 Cambridge
*4 ''.:':■•'.■ :n nil ui-;
TRANSFERRED TO
HilRVARD C0LIE6E UBRAW
1932
COPYRIGHT, 1906, BY AUGUSTA STBVXNBOir
ALL RIGHTS RXSBRVXD
TO
MISS N. CROPSEY
ASSiaTANT SUPERINTENDENT
INDIANAPOLIS PUBUC SCHOOU
FOREWORD
This book is intended to accomplish three dis-
tinct purposes : first, to arouse a greater interest
in oral reading ; second, to develop an expressive
voice — sadly lacking in the case of most Ameri-
cans; and third, to give freedom and grace in
the bodily attitudes and movements which are
involved in reading and speaking. The stories
given are for the most part adaptations of favor-
ite tales from folklore, — Andersen, Grimm,
^sop, and the Arabian Nights having been
freely drawn upon.
Children are dramatic by nature. They are
for the time the kings, the fairies, and the heroes
that they picture in their imaginations. They are
these characters with such abandon and with
such intense pleasure that the on-looker must
believe that nature intended that they should
give play to this dramatic instinct, not so much
formally, with all the trappings of the man-made
stage, but spontaneously and naturally, as they
talk and read. If this expressive instinct can be
vi FOREWORD
utilized in the teaching of reading, we shall be
able both to add greatly to the child's enjoyment
and to improve the quality of his oral reading.
In these days when so many books are hastily
read in school, there is a tendency to sacrifice
expression to the mechanics and interpretation
of reading. Those acquainted with school work
know too well the resulting monotonous, indis-
tinct speech and the self-conscious, listless atti-
tude which characterize so much of the reading
of pupils in grades above the third. It is believed
that this little book will aid in overcoming these
serious faults in reading, which all teachers and
parents deplore. The dramatic appeal of the
stories will cause the child to lose himself in the
character he is impersonating and read with a
naturalness and expressiveness unknown to him
before, and this improvement will be evident in
all his oral reading, and even in his speech.
The use of the book permits the whole range
of expression, from merely reading the stories
effectively, to "acting them out" with as little,
or as much, stage-setting or costuming as a parent
or teacher may desire. The stories are especially
FOREWORD vii
designed to be read as a part of the regular
reading work. Many different plans for using
the book will suggest themselves to the teacher.
After a preliminary reading of a story during the
study period, the teacher may assign different
parts to various children, she herself reading the
stage directions and the other brief descriptions
inclosed in brackets. The italicized explanations
in parentheses are not intended to be read aloud ;
they will aid in giving the child the cue as to the
way the part should be rendered. After the story
has been read in this way, if thought advisable
it can be played informally and simply, with no
attempt at costuming or theatric effects. It will
often add to the interest of the play to have some
of the children represent certain of the inanimate
objects of the scene, as the forest, the town gate,
a door, etc. Occasionally, for the "open day,"
or as a special exercise, a favorite play may be
given by the children with the simplest kind of
costuming and stage-setting. These can well be
made in the school as a part of the manual train-
ing and sewing work. In giving the play, it will
generally be better not to have pupils memorize
viii FOREWORD
the exact words of the book, but to depend upon
the impromptu rendering of their parts. This
method will contribute more largely to the train-
ing in English.
The best results will usually be obtained by
using these stories in the fourth grade. In some
schools, however, the stories in the first part of
the book may profitably be used in the third
grade.
The author has been led to believe from her
own experience and from her conversation with
many other teachers that there is a pronounced
call for this kind of book. She therefore hopes
that in the preparation of this book she may
have been of service to the teachers and children
who may be led to use it.
A. S.
CONTENTS
The Travellers and the Hatchet 1
Adapted Jrom JBwp^s FabU, The Traveller* and the Hatehet,
The Old Man and his Grandson S
Adapted Jrom Oritnm** The Old Man and hie Orandion.
The Crow and the Fox 6
Suggested Uy MeopU Fabte^ The Crow and the Pox,
The M H.LER, HIS Son, and their Donkey . . 9
Suggeeted by Stop's FabU, The Miller, hie Son, and their An.
Each in his Own Place 14
Suggested by OritnmU The Mouse, the Bird, and the Sausage,
What the Goodman does is always Right . . 20
Adapted from Hans Andersen^s What the Goodman does is alufoys Bight,
The Cat and the Mouse 29
Suggested by Orimni's The Cat and the Mouse,
The Girl who trod on the Loaf 36
Suggested by Hans Andersen^s The Oirl who trod on the Lo4nf,
The Ugly Duckling 48
Suggested by Hans Andersen*s The Ugly Duckling,
The Red Shoes 62
Suggested by Hans Andersen^s The Bed Shoes,
The Story of Ali Cogia 78
Adapted ftofm The Story of Ali Cogia from The Arabian Nights^ Entertainments,
The Wild Swans 90
Suggested by Hans AndersenU The Wild Swans,
The Two Countrymen 109
Suggested by an oriemial legend j source wiknown.
The Man and the Alligator 121
lYom a/olk4ale of Spanish Honduras,
The Song in the Heart 135
Suggested by Qrimm^s The Three Spinners.
The Emperor's Test 149
Christopher Columbus 163
ILLUSTRATIONS
The Moon changes into the Red Beard of the
Old Soldier. (See page 75) .... Frontispiece
The Travellers and the Hatchet .... 2
**We have lost our Donkey" 13
What the (toodman does is always Right . 24
The Cat and the Mouse 31
**'Tis Sinking! What shall I do?" .... 41
The Ugly Duckling 52
**A Thousand Pieces at Least" 81
The Two Countrymen 113
••Help! Help!" 131
The Prince sees the Three Great-Aunts . . 147
CHILDREFS CLASSICS IN
DRAMATIC FORM
THE TRAVELLERS AND THE HATCHET
Time : last week.
Place : a high road.
FiBST Traveller.
Second Traveller.
The Carpenter.
[The TWO Travellers journey along the road.
A hatchet lies in the dust at one side.] *
First Traveller {seeing the hatchet, taking
it wp).t Ah, see what I have found!
Second Traveller. Do not say /, but rather,
what we have found.
First Traveller. Nonsense ! Did I not see
the hatchet first ? And did I not take it up ?
Second Traveller. Well, then, claim the
hatchet, since that is plainly your wish.
* The explanations in brackeU may be read by the teacher.
t The words in parentheses are not intended to be read aloud ; thcj
will give the child the cue as to bow the part should be rendered.
Cabfentkb (to '*'**
Now I have caught you!
[He seuesOuFir^ ''^^'^^ I sir'
Carpenter. But my own hatchet is in your
hand, sir. Come along to the judge, sir !
First Traveller (to Second Travel^)- Alas,
we are undone!
Second Traveller. Do not say 'ive. You are
undone, not I. You would not allow me to share
the prize; you cannot expect me to share the
danger. I bid you good day, sir.
THE OLD MAN AND HIS GRANDSON
Time : now.
Place : a certain Man's house.
The Man.
His Wife.
Their Son — little Hans.
The Grandfather.
[The Man, his Wife, little Hans, and the
Grandfather sit at the table eating the noon
meaJ.]
Man. Be careful, father ! You are spilling the
soup on your coat.
Grandfather (trying to steady his trembling
hand). Yes, yes, I'll be careful.
[Stiort paiLse.]
Wife (sharply). Grandfather! You have
spilled the soup on my clean tablecloth !
Grandfather (emfearrcw^erf). Dear me! Dear
me!
[Short pause.]
4 THE OLD MAN AND HIS GRANDSON
Man. Here, father, is your plate of meat.
[The old man takes the plate ^ but lets it fall.]
Wife (angrily). There now! Just see what
you have done!
Gbandfather. My hand shook so — I'm
sorry — so sorry !
Wife. That won't mend the plate!
Man. Nor buy a new one!
Wife (to her husband). He should eat from
wooden dishes.
Man (nodding y pointing to a wooden dish).
Let him have that one for his meat.
[The Grandfather sighs sadly. The Wife gets
a wooden dish and fills it with meat. Little Hans
leaves the table and plays with his blocks on the
floor.]
Wife (handing the wooden dish to the Grand-
father). Here's one you can't break. Go now
and sit in the comer behind the oven. You shall
eat there hereafter. I cannot have my table-
cloths soiled — that I cannot !
[The Grandfather takes his wooden plate and
goes to the seat in the comer behind the oven. His
eyes are filled with tears.]
THE OLD MAN AND HIS GRANDSON 5
Man. Come, little Hans, and finish your
dinner.
Wife (turning to Hans). Bless me! What are
you making, child?
Hans. A wooden trough for you and father to
eat out of when I grow big.
[The Man and his Wife look at each otlier;
there is a pause.]
Man {showing shame). He will treat us as we
have treated father!
Wife {weeping). 'Twill serve us right!
Man {kindly). Father, throw that wooden dish
out of the window. I am ashamed of what I have
done ; forgive me !
Wife (kindly). Father, come back to the table.
I too am ashamed. Forgive me, dear father.
THE CROW AND THE FOX
Time : yesterday noon.
Place : a high tree in a grove.
Madam Crow.
Miss Crow, her Daughter.
Master Fox.
[Madam Crow sits in the tree. Enter Miss
Crow. She carries a large piece of cheese in her
mouth.]
Madam. Ojoy! Ojoy! Come, dear daughter,
come! We'll dine as if we were queen and
princess !
[Miss Crow flies to Madam Crow. Enter Mas-
ter Fox.]
Fox. I bid you good morning, dear madam.
Madam. Good morning to you, dear sir.
Fox {sitting under tree) . With your permission,
I'll speak with your daughter.
Madam. She'll be pleased to listen, that she
will — you are so clever.
THE CROW AND THE FOX 7
Fox (modestly). Nay, madam, not so clever,
only thoughtful.
[He sighs deeply tvnce.]
Madam. You have something on your mind.
Fox {sighing). Yes, dear madam, — I am
thinking of your daughter.
Madam. Then speak ! Speak now, sir ! — at
once, sir!
Fox. I speak. O sweet Miss Crow, how
beautiful your wings are !
Madam (pleased) . Do you hear that, daughter ?
[Miss Crow nodsy spreading her wings proudly.]
Fox. I speak again. How bright your eye,
dear maid ! How graceful your neck !
Madam. Bend your neck, child! Now bend
it well that he may better see your grace.
[Miss Crow bends neck tvnce.]
Fox. But oh, that such a sweet bird should be
dumb ! — should be so utterly dumb !
[He weeps gently in his little pocket handker-
chief.]
Madam (indignantly). Do you think, sir, she
cannot caw as well as the rest of us ?
Fox. I must think so, dear madam. Alas !
8 THE CROW AND THE FOX
[Weeping again in his little pocket handker-
chief.]
Madam. You shall think so, then, no longer !
Caw, child, caw, as you have never cawed before !
Miss Crow (opening mouth; dropping cheese).
Caw! Caw!
[Fox quickly snaps up the cheese.]
Fox (going). Thank you. Miss Crow. Re-
member, dear madam, that whatever I said of
her beauty, I said nothing of her brains.
[He goeSy waving the crows a farewell with his
little pocket handkerchief.]
THE MILLER, HIS SON, AND THEIR
DONKEY
Time : this morning.
Place: a bridge y near a town and not far from a Fair,
The Milleb and his Son.
First Maid. First (Joody.
Second Maid. Second Goody.
Third Maid. Third Goody.
First Old Man. The Mayor.
Second Old Man. His First Clerk.
Third Old Man. His Second Clerk.
[The Miller and his Son are driving their
donkey across the bridge. They go to the Fair.]
Son. Do you expect to get a good price for
our donkey, father ?
Miller (nodding). Aye, lad; the Fair is the
place to take your wares.
Son. Our donkey is not so young, though.
Miller. Neither is he so old, though.
Son. But he is not so fat, though.
Miller. Neither is he so lean, though.
10 THE MILLER, HIS SON. AND THEIR DONKEY
Son. Truly he might be worse.
Miller. Better or worse, he must be sold.
[Three Maids enter the bridge. They go to the
Fair.]
First Maid (pointing to the Miller and his
Son). Look there ! Did you ever see such geese ?
Second Maid. As I live! — walking when
they might ride!
Third Maid (to the Miller). You'll get a
laugh at the Fair, old man !
[The Maids pass on.]
Miller. This may be true. Get you upon
the beast, lad.
[The boy mounts the donkey. Enter three
Old Men. They talk together earnestly. They go
to the Fair.]
First Old Man (pointing to the Miller and
his Son). Look you there! That proves what
I was saying.
Second Old Man (nodding). Aye! There's
no respect shown old age in these days.
Third Old Man (nodding). Aye! There's
that young rogue riding while his old father has
to walk!
THE MILLER, HIS SON, AND THEIR DONKEY 11
[The Old Men pass on.]
Miller. Get down, lad. 'T would indeed
look better should I ride.
[The lad dismounts; the Miller mounts. Enter
THREE Goodies; they go to the Fair.]
First Goody (indignantly^ pointing to the
Miller and his Son). Look, Goodies, look! Did
you ever see anything so cruel ?
Second Goody (to the Miller). You lazy old
fellow ! How can you ride while your own child
walks in the dust ?
Third Goody (to the lad). You poor, poor
child!
[The Goodies pass on, shaking their heads and
their canes indignantly.]
Miller. Come, lad, get up behind me.
Son. Why, father, I'm not tired!
Miller. I know, but we must try to please
them. Come.
[The lad mounts ^ sitting behind his father.
Enter the Mayor and his Clerks. They go to
the Fair.]
Mayor (turning to his Clerks; pointing to the
Miller and his Son). Look, will you!
12 THE MILLER, HIS SON, AND THEIR DONKEY
{He turns to the Miller.)
Pray, honest friend, is that beast your own?
Miller. Yes, my lord Mayor.
Mayor. One would not think so from the
way you load him. Say you not so, my Clerks ?
First Clerk (bowing) . Just so, my lord Mayor.
Second Clerk (bowing). Even so, my lord
Mayor.
The Mayor (to the Miller and his Son). Why,
you two fellows are better able to carry the poor
donkey than he you ! Say you not so, my Clerks ?
First Clerk (bowing). Just so, my lord
Mayor.
Second Clerk (bowing). Even so, my lord
Mayor.
Miller. Come, my son, to please them, we'll
carry the donkey.
{They dismount and try to lift the donkey. This
frightens the "poor beast. He tries to get away^ and
falls over the bridge into the deep river.]
Miller (weeping). I have tried to please
every one! I have pleased no one!
Son (weeping). And we have lost our donkey
in the bargain !
"WE HAVE LOST OUB DONKEY "
EACH IN HIS OWN PLACE
Time : yesterday.
Place : in a tiny house.
The Straw who brings in the wood.
The Coal who makes the fire.
The Snowflake who draws the water.
The Sugar Loaf who lays the table.
The Sausage who cooks the meals.
[The tiny kitchen is seen. The Sausage is
stirring the pot. The Coal is tending the fire.
The Sugar Loaf is laying the tahUr Enter
Straw with a load of wood.']
Straw (throwing down wood). Think you'll
need more wood for the dinner, Sausage ?
[SatLsage does not answer. She gets into the
pot to flavor the vegetables.]
Coal (whispers to Straw). Sausage is quite
put out.
Straw. What's the trouble?
Coal. No one knows.
[Enter Snowflake with a pail of water.]
EACH IN HIS OWN PLACE 15
Snowflake (looking about). Where's Sau-
sage?
Stkaw. She is flavoring the vegetables.
[Savsage comes out of the po<.]
Snowflake. Here is the water. Sausage.
[Sausage does not answer.]
Snowflake (speaking louder). Will you come
for the water, Sausage ?
Sausage (sharply). No, madam, I will not!
The Others (with surprise). Sausage!
Sausage. I've been slave here long enough!
The Others (a^ before). Sister Sausage!
Sausage. I mean just what I say!
Snowflake. Have I not done my share of the
work?
Coal. Have I not done my share ?
Straw. Have I not done my share ?
Sugar Loaf. And have I not done my
share ?
Sausage. Please to tell me what you do.
Straw. I bring in wood that Coal may make
the fire.
Coal. I make the fire that the pot may
boil.
16 EACH IN HIS OWN PLACE
Snowflake. I draw the water and bring it
from the brook.
Sugar Loaf. I lay the table nicely.
Sausage. What do I? Eh? What do I? I
must stand over the fire. I must not only stir the
dinner, I must flavor it with myself. For each of
you there is one duty. For me there are plainly
three.
Straw. But, sister —
Sausage (interrupting). Don't "sister'" me!
Snowflake. Sausage, dear, would you break
up our pretty home ?
Sugar Loaf. And we all so happy here!
Sausage. There must be a change ! Some one
else can stand over the fire — can stir the pot —
can flavor the vegetables.
Coal. If I flavored them, they could not be
eaten.
Sausage. That's what you're always saying,
but I'm not so sure of it.
Snowflake. If I stirred the pot, 't would be
the end of me.
Sausage. Yes, you say that often enough, but
I'm not so sure that it is true.
EACH IN fflS OWN PLACE 17
Stkaw. Should I stand over the fire, I'd be
no more.
Sausage {scornfully). Excuses! Excuses!
Sugar Loaf. 'T is plain that I should not get
into the pot.
Sausage. And why not. Miss ? why not ?
Sugar Loaf. 'T would be good-by for me,
if I should !
Sausage. Excuses! Excuses! I say there must
be a change ! 'T is I who will bring the wood or
draw the water.
Coal. But, Sausage, you should stay within.
Sausage. Not I, sir! I'll out of the pot and
out of the house, I will ! I '11 see a bit of the world,
I will!
Sugar Loaf {sighing). Well, if she will, she
will!
Sausage {getting slips). Come, now, and draw
for it.
[She holds the slips for the others to draw.]
Straw {drawing; reading from slip). "Who
gets this must make the fire.''
Sugar Loaf {drawing; reading from slip).
"Who gets this must draw the water."
18 EACH IN fflS OWN PLACE
Snowflake (drawing; reading from slip).
"Who gets this must stir the pot and flavor it
with herself/'
Coal (drawing ; reading from slip). "Who
gets this must lay the table nicely/'
Sausage (reading from last slip). "Who gets
this must bring the wood." Well, that pleases
me! Straw, see if the fire needs wood.
(Straw hesitates.)
Come, come, do your duty !
[Straw crosses the hearth and looks into the fire.
He is very careful, hut the fire reaches him and he
is gone in a puff I]
Snowflake. Poor Straw ! Well, 't is my duty
to stir the pot and to flavor it with myself.
[She crosses to the hearth, but fust as she reaches
it, she disappears without so much as a cry.']
Sugar Loaf. Poor Snowflake! Well, 't is my
duty to draw the water.
[She forgets that the pail is fuU, falls into it,
and is seen no more.]
Coal. Poor Sugar Loaf ! Well, 't is my duty
to lay the table nicely.
[He forgets that he is still burning from having
EACH IN HIS OWN PLACE 19
lately tended the fire. As he places the plates^ the
tablecloth catches fire and wraps itself around
hini.\
Coal (from inside the burning cloth). This is
the end of me !
Sausage (weeping). Dear me! Dear me!
Who would have thought 't would turn out so
badly ! Well, 't is my duty to bring in wood.
[She opens the door and is face to face with a
hungry dog who is sniffing about.]
Dog. Ah, I thought you'd be coming out
soon!
Sausage (pleased). Do you want to see me,
sir?
Dog. Why, yes, I Ve been waiting for you.
Sausage. How good to be out in the world!
They always said my place was within.
Dog. They did, eh.? Well, just to please them,
I'll put you there.
[He swallows her quickly^ which ends both
Sister Sausage and our story.]
WHAT THE GOODMAN DOES IS
ALWAYS RIGHT
SCENE I
Time : early one morning.
Place : a very old farmhouse.
The Goodman.
His Wife.
[The Goodman and his Wife are sealed in
their spare room because it is Fair-day.]
Wife. Yes, I think it would be as well to sell
our horse. Or, as you say, we might exchange
him for something more useful.
Goodman. What shall we exchange him for ?
Wife. You know best, Goodman. Whatever
you do will be right.
Goodman (starting out). It is Fair-day. I will
ride into town and see what can be done.
Wife. Wait till I fasten your neckerchief!
You shall have a pretty double bow this time,
for you are going to the Fair.
WHAT THE GOODMAN DOES IS RIGHT 21
(She ties the neckerchief. The Goodman starts out.)
Wait till I have smoothed your hat!
(She smooths his old hat.)
Now you are ready.
Goodman (going). Be at the window, Wife.
Wife (nodding). Yes, surely, and I will wave
at you as you ride by.
SCENE II
Time : two hours later.
Place : near the toll-gate on the road to the Fair.
The GooDBiAN. Thhid Peasant.
First Peasant. Toll-keeper.
Second Peasant. Hostler.
[The Goodman is seen riding his horse. Enter y
from a country lane^ a Peasant, driving a cow.]
Goodman (stopping; calling). Halloo, there
— you with the cow !
Peasant (stopping). Yes, Goodman.
Goodman. Your cow gives good milk, I am
certain.
Peasant (nodding). None richer in this coun-
try!
2« WHAT THE GOODMAN DOES IS RIGHT
Goodman. A horse is of more value than
a cow, but I don't care for that. A cow will
be more useful to me; so if you like, we'll ex-
change.
Peasant. To be sure I will. Here is your cow.
Goodman. Here is your horse.
[The Peasant goes off riding the horse. A sec-
ond Peasant, driving a sheep^ enters from a field
near by.]
Goodman (sees him and calls). Halloo, there
— you with the sheep !
Second Peasant (stopping). Yes, Goodman.
Goodman. I should like to have that sheep.
Second Peasant. She is a good, fat sheep.
Goodman. There is plenty of grass for her by
our fence at home, and in the winter we could
keep her in the room with us.
Second Peasant. Do you wish to buy her?
Goodman. Will you take my cow in ex-
change ?
Second Peasant. I am willing. Here is your
sheep.
Goodman. Here is your cow.
[The second Peasant goes off driving the cow.
WHAT THE GOODMAN DOES IS RIGHT 28
Enter y from a farmyard near by^ a third Peas-
ant carrying a goose.]
Goodman. What a heavy creature you have
there !
Third Peasant (stopping). She has plenty
of feathers and plenty of fat.
Goodman. She would look well paddling in
the water at our place.
Third Peasant (stopping). She would look
well in any place!
Goodman. She would be very useful to my
wife. She could make all sorts of profit out of her.
Third Peasant. Indeed she could, Goodman !
Goodman. How often she has said, — "If
now we only had a goose!*'
Third Peasant. Well, this goose is for sale.
Goodman. I will give my sheep for your goose
and thanks into the bargain.
Third Peasant. I am willing; here is your
goose.
Goodman. Here is your sheep.
[The Peasant goes off with the sheep. The Good'
man discovers a hen in the Toll-keeper's po"
tato field.]
124 WHAT THE GOODMAN DOES IS RIGHT
Goodman (calling). That's the finest fowl
I ever saw, Toll-keeper!
Toll-keeper. You're right about that, Good-
man.
Goodman. She 's finer than our pastor's brood-
hen! Upon my word she is! I should like to
have that fowl !
Toll-keeper. She is for sale.
Goodman. I -think it would be a good ex-
change if I could get her for my goose.
Toll-keeper. Well, it would n't be a bad
thing.
Goodman. Then here is your goose.
Toll-keeper. Here is your fowl.
[Enter a Hostler carrying a sa^^k.]
WHAT THE GOODMAN DOES IS RIGHT 25
Goodman (to Hostler). What have you in that
sack, friend ?
Hostler. Rotten apples — to feed the pigs
with.
Goodman. Why, that will be a terrible waste.
I should like to take them home to my wife.
Hostler (astonished). To your wife?
Goodman (nodding). You see, last year our
old apple tree bore only one apple, which we
kept in the cupboard till it was quite rotten. It
was always property, my wife said.
Hostler. What will you give me for the sack-
ful ? Your wife would then have a great deal of
property.
Goodman. Well, I will give you my fowl in
exchange.
Hostler. Here is your sack of rotten apples.
Goodman. Here is your fowl.
[The Hostler goes with the fowl.]
Toll-keeper. Toll, Goodman!
Goodman. I will not go to the Fair to-day.
I have done a great deal of business, and I am
tired. I will go back home.
26 WHAT THE GOODMAN DOES IS RIGHT
SCENE III
Time : two hours later.
Place : the old farmhouse.
The Goodman.
His Wipe.
[Enter the Goodman, carrying the sack. The
Wife waits for him in the spare room^ because he
has been away.]
Goodman. Well, Wife, IVe made the ex-
change.
Wife. Ah, well, you always understand what
you're about.
Goodman. I got a cow in exchange for the
horse.
Wife. Good! Now we shall have plenty of
milk and butter and cheese on the table. That
was a fine exchange!
Goodman. Yes, but I changed the cow for
a sheep.
Wife. Ah, better still ! We have just enough
grass for a sheep. — Ewe's milk and cheese !
Woolen jackets and stockings! The cow could
WHAT THE GOODMAN DOES IS RIGHT 27
not give all those. How you think of every-
thing !
Goodman. But I changed the sheep for a
goose.
Wife. Then we shall have roast goose to eat
this year. You dear Goodman, you are always
thinking of something to please me!
Goodman. But I gave away the goose for a
fowl.
Wife. A fowl ? Well, that was a good exchange.
The fowl will lay eggs and hatch them. We shall
soon have a poultry-yard. Ah, this is just what
I was wishing for !
Goodman. Yes, but I exchanged the fowl for
a sack of rotten apples.
Wife. My dear, good husband! Now, I'll
tell you something. Do you know, almost as
soon as you left me this morning, I began think-
ing of what I could give you nice for supper. I
thought of bacon with eggs and sweet herbs.
Goodman. But we have no sweet herbs.
Wife (nodding). For that reason, I went over
to our neighbor's and begged her to lend me a
handful.
«8 WHAT THE GOODMAN DOES IS RIGHT
Goodman. That was right ; they have plenty.
Wife (nodding). So I thought, but she said,
" Lend ? I have nothing to lend, not even a rotten
apple." Now I can lend her ten or the whole
sackful. It makes me laugh to think of it. I am
so glad.
Goodman. So you think what I did was right ?
Wife. What the Goodman does is always
right.
THE CAT AND THE MOUSE
Time : perhaps this minute.
Place : perhaps your own garret.
Mother Mouse.
Her Daughter, Miss Mouse.
The Cat.
[Mother Mouse and Miss Mouse are in
their spare room because Mother Mouse is getting
ready for a journey. Miss Mouse helps her. The
Cat is outside^ peeping now and then through
the windowy hut so slyly that the mice do not see
her.]
Mother Mouse (going). Now mind you keep
one eye on our grease-pot, child.
Miss Mouse. That I will, dear mother!
Mother Mouse. Let no one in, — no one !
no one!
Miss Mouse. No one, dear mother!
Mother Mouse. I'll not be long away.
Good-by, my child.
(Starting out; stopping.)
30 THE CAT AND THE MOUSE
Mind you show no one the grease-pot, child,
— no one ! no one !
Miss Mouse. No one, dear mother !
[Mother Mouse goes out of the front door.'\
Cat {calling through vrindow). Oh, Miss
Mouse! Oh, Miss Mouse!
Miss Mouse (showing alarm). Who calls?
Cat (very sweetly). Only I! Will you please
let me in ?
Miss Mouse (shaking head). Mother said —
Cat (interrupting quickly). *Tis a matter of
business !
Miss Mouse (shaking head). But mother
said —
Cat (interrupting). 'T is most important!
Miss Mouse (as before). But mother said —
Cat (interrupting). I wish your advice — you
are so clever!
Miss Mouse (showing she is pleased; starting
to window). Oh, do you truly think so?
Cat (nodding). Every one thinks so!
Miss Mouse (showing she is more pleased;
going to the window). Oh, do they, truly?
Cat. Oh, truly they do !
THE CAT AND THE MOUSE 81
Miss Mouse (showing she is most pleased;
opening window). What else nice say they?
Cat {jumping in) . That I '11 tell you by and by.
(Sniffing about.)
There must be a grease-pot about ! Am I not
right ?
Miss Mouse. Mother said —
Cat (interrupting). Only tell me if I be right !
'T will do no harm !
Miss Mouse (hesitating). Well — then — yes.
But H is put away for our winter stores.
Cat (nodding). Just so! Now, I can't decide
where to keep my grease-pot when I have bought
one. Won't you give me your advice ? You are
so wise.
32 THE CAT AND THE MOUSE
Miss Mouse. Do you truly think I*m wise ?
Cat (nodding). Aye, and if you will tell me
where to keep my grease-pot when I have bought
it, I'll tell you something more.
Miss Mouse (greatly pleased). About me?
Cat (nodding). Yes, — what every one says
about your being so beautiful. But first I must
know where to keep my grease-pot.
Miss Mouse. Then listen — you must keep
it, when you have bought it, in the northwest
corner.
[The Cat runs quickly to the northwest cor-
ner.]
Miss Mouse (in alarm). Come away! Come
away!
Cat. Why, here is your grease-pot!
Miss Mouse (as before). Come away, I say!
Cat (looking into the pot). Truly, the fat is
kept hard and cool here.
Miss Mouse. I pray you come away ! Mo-
ther does not so much as let me look into it. 'T is
not yet time, she says.
Cat (looking again into pot). Exactly!
(She leaves the pot and joins Miss Mouse.)
THE CAT AND THE MOUSE 38
'Tis just what I'll tell my kittens about my
grease-pot when I have bought it.
Miss Mouse. Ah, then you have kittens at
home ?
Cat (nodding). Such beautiful kittens! The
eldest is white, with brown marks.
Miss Mouse. He must be charming!
Cat. I've a mind to tell you his name. First,
though, run out to see if your dear mother is not
coming.
[Miss Mouse nods and runs out. The Cat
quickly creeps to the grease-pot and licks the top
ojf. She crosses to the window just as Miss Mouse
returns.]
Miss Mouse. Mother is nowhere to be seen.
Now what did you name your eldest child?
Cat. Top-oflF.
Miss Mouse. Top-oflF ? Why, that is a curious
name ! Is it common in your family ?
Cat. Oh, no! My second child has a white
ring around his neck.
Miss Mouse. Remarkable !
Cat. Very!
Miss Mouse. What did you name him?
84 THE CAT AND THE MOUSE
Cat. I gave him an unusual name. I will tell
you what it is. First, though, run out to see if
your dear mother is coming.
[Miss Moitse nods and runs out. The Cat
creeps to the grease-pot and eats half the fat ; then
crosses to window. Miss Mouse returns.']
Miss Mouse. Mother is nowhere to be seen.
Now what did you name your second child?
Cat. Half-out.
Miss Mouse. Half -out? I never heard such
a name ! 'T is not in the calendar, I 'm sure.
Cat. What does that matter, if it pleases me ?
Now the last child is really a wonder. He is quite
black and has little white claws, but not a single
white hair on his body.
Miss Mouse. What have you named him?
Cat. I'm afraid that will please you no better
than the others, but still I will tell you. First,
though, run to see if your dear mother is not
coming.
[Miss Mousse nods and runs out. The Cat
creeps to the pot and eats all the fat. She then crosses
to the window.]
Cat. What one begins one must needs finish.
THE CAT AND THE MOUSE 95
[Miss Mouse returns.]
Miss Mouse. Mother is nowhere to be seen.
Now tell me what you named your youngest
child.
Cat. All-out.
Miss Mouse. All-out? Why, that is more
curious than the others. I have never seen it in
print.
Cat (glaring at Miss Mouse). You never
will!
Miss Mouse (frightened). What do you mean ?
Cat (preparing to spring). I mean to put you
down with the fat !
Miss Mouse. Help ! help !
[Enter Mother Mouse ju^t as the Cat clutches
her daughter and jumps out of the vnndow with
her. Mother Mou^e crosses and looks into the
empty grease-pot.]
Mother Mouse (sighing sadly). 'T was ever
thus! Show your grease-pot, and you^U go with
it!
THE GIRL WHO TROD ON THE LOAF
SCENE I
Time : the day before Christmas.
Place : Inge*s Mother's home.
Inge.
Her Mother.
[The Mother stands at the kitchen vnndowt
watching for Inge.]
Mother. Ah, here she comes at last!
(Short pause. Enter Ing6.)
I have waited long for you, my child. Where
have you been ?
(Inge is silent.)
Have you been to the Elf Hill? Tell me.
Ing^ (hesitating). Just for a little while,
mother.
Mother. Ing^ ! Ing^ ! What have I ever told
you?
Ing6. I thought I'd go just this once.
THE GIRL WHO TROD ON THE LOAF 87
Mother (showing sorrow). Ah, Ing^, that's
what you always say.
Ing]6. There's no harm talking with the elves.
Mother. And I, your mother, say there is
harm.
Ing6. But, mother, — they talk so prettily.
Mother (nodding) . Aye ! and that 's the harm.
They've put such silly ideas into your head.
Ing]6. They say 't is friendship makes them
talk as they do.
Mother (indignantly). Friendship! 'Tis
friendship, is it, tp tell you not to fetch the
wood?
Ing1&. They say 't will spoil my hands.
Mother. Out upon them and their pretty
talk! You shall go there no more. Do you hear
me, Ing^?
Inge (pouting). I hear.
Mother. Now take this loaf of bread to your
sick aunt. Say to her 't is her Christmas gift.
Ing]6. But, mother, I must cross the muddy
road to go there.
Mother. Well, you are neither sugar nor salt.
Ing6. I'll spoil my shoes!
88 THE GIRL WHO TROD ON THE LOAF
Mother. You think of your shoes, and your
aunt lies ill?
Inge. Wait till spring and the mud will be
gone.
Mother. Wait till spring and your aunt will
be gone ! Here is the loaf — now oflF with you !
[Inge takes the loaf and goes, but not willingly.]
SCENE n
Time : a few minvies later.
Place : the muddy road.
Ing£.
The Wicked Elf.
[Inge is seen stopping at the mvddy road.]
Ing6. 'T is too wide to leap !
[The Wicked Elf suddenly appears on the
opposite side of the road.]
Wicked Elf. Good day to you, pretty maid !
Inge. Good day to you, dear Elf !
Wicked Elf. Wilt cross this muddy road ?
Ing6. I must.
Wicked Elf. Then I'll tell you how to do it
and not so much as wet your shoe.
THE GIRL WHO TROD ON THE LOAF 89
Inge. Oh, thank you, dear Elf!
Wicked Elf. Throw down your loaf and —
Inge (showing surprise; interrupting). Throw
down the loaf?
Wicked Elf. Why, yes, — to use it for a
stepping-stone.
iNGfe. But *t will spoil the bread !
Wicked Elf. But 't will save your shoes !
Inge. Well, that's true —
Wicked Elf. A pretty maid ne'er wears a
muddy shoe.
Inge. That's true, too —
Wicked Elf. Come, then, throw down the
loaf!
Inge. Well, I'll do it!
(She throws the loaf and steps upon it)
'T is sinking! What shall I do?
Wicked Elf. Why, then, jump off!
IngiS (trying to jump). I can't ! Don't you see
I can't ?
Wicked Elf. Ha, ha! You're fastened to it!
Ing6. 'T is drawing me down ! Help me! Help
me!
Wicked Elf. There's no help for you.
40 THE GIRL WHO TROD ON THE LOAF
Ing6. No help ? What do you mean ?
Wicked Elf. You must go down with the loaf.
Inge. I pray you help me ! See how I'm sink-
ing ! The mud will soon be over my shoes !
Wicked Elf. The mud will soon be over your
head!
Ing6 (weeping). Save me! Save me!
Wicked Elf. Will you be saved by magic ?
Inge. Yes, yes !
Wicked Elf. Listen, then — I'll change you
into a bird. Are you willing?
Inge. Yes, yes! Quick now, before I sink
deeper !
Wicked Elf (nodding head three times). A
sparrow shall you be ! Change, now change !
[Inge changes into a Sparrow, with a tuft of
white featherSy just the shape of a loaf of bread,
upon its head. The Sparrow flies from the mud.]
Sparrow. Now change me back into Inge.
Wicked Elf. You shall remain as you are.
Sparrow (showing surprise). Remain as I
am?
Wicked Elf (nodding). Until you can change
yourself back.
'TIS SINKING! WHAT SHALL I DO?'
42 THE GIRL WHO TROD ON THE LOAF
Sparrow. And when will that be?
Wicked Elf. When the loaf has gone from
your head.
Sparrow. The loaf from my head ? What do
you mean?
Wicked Elf (going). Fly away to the brook
and see! Ha, ha, ha!
(She runs away, calling hack.)
Fly away to the brook and see ! Ha, ha, ha !
SCENE III
Time : the day following Christmas Day.
Place : an old stone wall by a brook.
The Sparrow. First Stone.
The Peasant. Second Stone.
Gretel. Third Stone.
[The Sparrow sits in a hole in the wall.]
First Stone. Come, come, be not so sad,
little Sparrow!
Second Stone. Come, lift up your head and
sing!
Third Stone. Come, sing us your Christmas
song !
THE GIRL WHO TROD ON THE LOAF 43
Sparrow. Sing ! I have nothing to sing about.
First Stone. Sing of your friends.
Second Stone. Sing of their love for you.
Third Stone. Sing of their kindness to you.
Sparrow. Talk not to me of friends, or love,
or kindness! There's none in the world.
[Enter a Peasant vrith his little Gretel. The
Pedsant carries two ears of com.]
Peasant. Now, my Gretel, we'll place the
com here on the old wall.
Gretel. Mother thought you brought too
much.
Peasant. Well, 't is true there are only three
ears left at home, but the birds must have their
Christmas dinner.
[He places the com on the wall.]
Gretel. Therie's none about to see it!
Peasant. Oh, some bird will soon find it !
Gretel. But will it call the others ?
Peasant. We'll wait to see. Come, we'll sit
there on the log.
[They go to a log near by.]
First Stone. There, little Sparrow, say you
now there is no kindness ?
44 THE GIRL WHO TROD ON THE LOAF
Second Stone. Or love ?
Third Stone. Or friendship ?
Sparrow. No, no ! I can never say that again.
The peasant's heart is full of kindness and love
and friendship. I will sing of it ! 'T will be my
Christmas song!
[The Sparrow leases the hole and flies to the
com.]
Gretel. Look, father, there is a sparrow!
And hear it sing ! Just hear it !
Peasant. It is calling the other birds.
Gretel. Why, it does n't even touch the
corn !
Peasant. It 's waiting to share it with the
others. Is it not a pretty sight? Come, we must
go to tell mother.
THE GIRL WHO TROD ON THE LOAF 45
SCENE IV
Time : one month later.
Place : same as Scene hi.
Our Sparrow.
The Very Old Sparrow.
The Old Sparrow.
The Young Sparrow.
The Very Young Sparrow.
The Wicked Elf.
[All the Sparrows except Our Sparrow sit on
the stone wall.]
Young Sparrow. I say the stranger should be
driven away!
Very Young Sparrow. So say I !
Old Sparrow. The stranger is a sparrow, but
still not a sparrow.
Very Old Sparrow. And yet she is only dif-
ferent by a tuft of white feathers.
Young Sparrow. And such a tuft ! For all the
world like a loaf of bread !
Very Young Sparrow. I'd think it shame to
carry such on my head !
46 THE GIRL WHO TROD ON THE LOAF
Old Sparrow. I fear 't will shame us all to
have this stranger about.
Very Old Sparrow. And yet we are not
ashamed to eat the crumbs this stranger brings.
Old Sparrow. Well, 't is true she has been
most kind.
Very Old Sparrow. 'Tis a hard winter!
Shall we drive away the one who finds food where
we find none ?
Young Sparrow. And calls us every time!
Very Young Sparrow. And never eats till
we have come !
Very Old Sparrow. I've kept in mind the
crumbs she has found us. Now, how many do
you think ?
Old Sparrow. I cannot say, for I did not
think to notice.
Very Old Sparrow. There only lacks two
or three now of being a loaf.
Other Sparrows {greatly surprised). A loaf?
Very Old Sparrow (nodding). A loaf.
Very Young Sparrow. Here comes the
stranger now!
Old Sparrow. She brings a crust!
THE GIRL WHO TROD ON THE LOAF M
[Our Sparrow fies up with a crust in its
bill.]
Our Sparrow. Come, friends, H is for all of
you!
Very Old Sparrow. Do you know, stranger
bird, that, with these crumbs, you have brought
us in all one loaf?
[Our Sparrow drops the crust for the others. At
once it changes into Inge. The birds -fly away
frightened.]
Inge. Ah ! Now I understand. The loaf had
to be made up, crumb by crumb.
[The Wicked Elf suddenly appears.]
Wicked Elf. Come, pretty maid, come to the
Elf Hill!
Inge. No, no ! I will not !
Wicked Elf. But we have such pretty things
to tell you !
Inge. I care not for your pretty things ! I go
to fetch wood for my mother. I go to walk in
the mud if need be. Away with you! I'll have
none of you ! Away, away, I say !
THE UGLY DUCKLING
SCENE I
Time : one summer morning.
Place : the farmyard of the Moor Farm.
Madam Duck. Turkey.
First Duckling. Gray Gander.
Second Duckling. White Goose.
The Ugly Duckling. Plymouth Rock Hen.
Third Duckling. Red Rooster.
[Madam Duck enters the farmyard with her new
brood of Ducklings. The other fowls approach.]
Turkey (showing displeasure). A new brood
of ducks ! Look you all — a new brood of ducks !
Gray Gander (also displeased). As if there
were not enough of us here already!
White Goose (likewise displeased). True
enough, — I can scarce find a corner for my
afternoon nap!
Red Rooster. It seems to me, Madam
Duck, that you should not have brought us a new
brood this summer.
THE UGLY DUCKLING 49
Madam Duck. What is that you are saying ?
Turkey. It seems to all of us, madam, that
there is no room here for a new brood.
Plymouth Rock Hen. Friends, be just.
Madam Duck has a perfect right to bring her
ducklings here. Besides, the children are quite
pretty.
Madam Duck. They are beautiful ! You shall
all see that for yourselves. Come, children, into
a row with you !
[The Ducklings form themselves into a row.
The Ugly Dtickling is Idst.]
IVIadam Duck. Legs wide apart! Toes out!
Now speak prettily to my old friends.
DxjCKUSGs (all but the last). Quack! Quack!
IVIadam Duck. There now — are they not
charming ?
Gray Gander (looking dovm row). Why, yes,
they all seem graceful enough — here — wait a
moment! Does that last one there belong to
you?
[All the fowls look at the last DiLckling.]
Madam Duck. Oh yes ! He is larger than the
others and perhaps not so pretty, but —
60 THE UGLY DUCKLING
Turkey (interrupting). Make no excuses for
him, madam. We can see for ourselves what he
is.
Gray Gander. In all my life I never saw any-
thing so ugly !
White Goose. He is neither duck nor goose !
Plymouth Rock Hen. Nor duck nor chick!
Turkey. I'd be 'shamed to have a turkey
look like that !
Red Rooster. I'd allow no hen of mine to
claim him!
Madam Duck. Come now, come now, friends.
The poor child is not pretty, but he is good, and
he can swim even better than the others.
Turkey. That he can swim well is nothing
to me !
Red Rooster. Nor to me! He should be
driven out, I say!
Madam Duck. Let him alone ; he is not do-
ing any harm.
First Duckling. But, mother, no one will
look at us if he stays with us !
Madam Duck {thoughtfully.) Now perhaps it
may turn out that way.
THE UGLY DUCKLING 51
Second Duckling. I'll not walk about with
him!
Third Duckling. Nor I !
IVIadam Duck. Well, well ! He must be uglier
than I thought !
First Duckling. Besides, dear mother, he
will not quack.
Madam Duck. What is this ? Did he not quack
but just a moment ago ?
Second Duckling. He turned his toes out,
but quack he would not.
Third Duckling. 'T is true, dear mother.
Madam Duck (to the Ugly Duckling). Quack!
Quack now — at once !
[The Ugly Duckling tries to quacks hut chokes.
The fowls laugh and jeer at him.]
Gray Gander. Ha, ha! There's a "quack''
for you !
White Goose. Ha, ha!
Plymouth Rock Hen. Ha, ha!
Red Rooster. Ha, ha!
Turkey. Ha, ha!
Madam Duck (angrily). Once more I tell you
— quack !
5% THE UGLY DUCKLING
[The Ugly Duckling tries again; chokes.]
All Fowls. Ha, ha, ha, ha !
Ugly Duckling (weeping). I'm sorry — I'd
quack if I could.
Madame Duck. Ah, if you were only far
away!
First Duckling. I wish the cat would eat
you!
Second Duckling. I wish the swans would
kill you !
White Goose. And they will when they see
him — you may be sure of that.
Gray Gander (nodding). Aye, they'll not
suffer such an ugly creature to swim in the
brook !
THE UGLY DUCKLING 55
Red Rooster. We must drive him off —
that's clear!
(Running at the Ugly Duckling.)
Come now, out with you !
Plymouth Rock Hen {^pecking Duckling).
Out with you!
Ugly Duckling. Mother, save me !
Madam Duck. Call not on me !
Gray Gander {striking Duckling with his
wings). Out with you!
Ugly Duckling (running to Ducklings). Bro-
thers, sisters, save me!
First Duckling. Come not to us !
Second Duckling. We'll not save you!
Third Duckling. Away with you !
Turkey. At him, hens to peck him ! At him,
geese to beat him ! At him, all of you !
[They all rush upon the Ugly Duckling y who
escapes theniy running out of the farmyard into
the moor.]
54 THE UGLY DUCKLING
SCENE II
Time : the next winter.
Place : the Peasant's cottage.
The Peasant. The Cat.
His Wife. The Hen.
Elizabeth. The Ugly Duckling.
[The Peasant enters the cottage^ carrying the
Ugly Duckling.]
Peasant. See what I'm bringing you!
Wife. Why, 't is a duckling — half frozen, too !
Peasant. I found him frozen in the pond. I
had to break the ice to get him out.
Elizabeth. Give him to me, father. I will
put him behind the stove.
Peasant (giving Dvx^lding to Elizabeth).
That's a good child.
Wife. Handle him tenderly, daughter.
Elizabeth (taking ojf her shawl). He shall lie
upon my shawl. You poor, dear, ugly little
duckling !
[She places the Duckling upon the shawl behind
the stove, near the Cat and Hen.]
THE UGLY DUCKLING 55
Peasant. 'T is the duckling I told you of!
Wife. The one you saw on the pond yester-
day?
Peasant. Aye, and the day before, and all
winter long, for that matter. Yesterday I saw
him try to join the wild ducks on the river, but
they drove him back to the pond.
Elizabeth. Poor duckling! The pond was
freezing then!
Peasant (nodding). Then he tried to find a
place among the rushes on the moor, but the
birds drove him from there.
Elizabeth. Why did they all treat him so,
father ?
Peasant. I do not know, unless it is because
he is so ugly.
Wife. Come now to dinner, father — Eliza-
beth. By the time we have finished, our duckling
will be warmed and awake.
[They go into the kitchen. The Duckling stirs
and looks about.]
Hen. Can you lay eggs ?
Duckling (politely). No, madam.
Cat. Can you set up your back ?
56 THE UGLY DUCKLING
Duckling. No, dear sir.
Cat. Can you purr ?
Duckling (frightened). No.
Hen. Then you can't stay here.
Duckling. Do not drive me out, I pray you !
Cat. Will you leam to purr?
Hen. And to lay eggs ?
Duckling (sadly). Alas, I can do nothing
but swim.
Cat. Swim! Well, I must say that is very
queer.
Duckling. Oh, no, dear sir ! It is most plea-
sant when the waters close over your head and
you plunge to the bottom.
Cat. Plunge to the bottom, indeed ! I'd never
think of doing such a silly thing !
Hen. Nor I !
Cat. 'T is clear you can't remain here.
Duckling. Where am I to go ?
Cat. Go lie in the rushes. The birds flew south
this morning.
Duckling. I shall starve there.
Cat. It would really be a good thing for you
if I should eat you.
THE UGLY DUCKLING 57
Duckling. I'd thank you to do so, dear sir.
Hen. Eat him, since he is so willing. He is too
ugly to live.
Cat (turning away). I can't, he is too ugly to
eat.
(To the Dtickling.)
Come, out with you !
Hen (running at him). Yes, yes! Out with
you! Out with you!
[They jmah the Duckling out of the door into
the snow.l
Duckling. Alas! What shall I do? Where
shall I go ? Why was I made so ugly that every
one despises me!
58 THE UGLY DUCKLING
SCENE III
Time : the next spring.
Place : the brook on the Moor Farm,
The Ugly Duckling. The Mother.
The Mole. The Children.
The Father. The Swans.
[The Ugly Duckling sits on the hill of a
Mole near the brook which winds through the
Moor Farm.]
Mole (from the mole hill). Will you please
move ? I wish to come out.
Duckling (rising quickly). Why, 't is a mole
hill I \e been sitting on !
(The Mole comes out from the hill.)
I 'm sorry, friend Mole, I did n't notice your
hill.
Mole. Who are you?
Duckling. Madam Duck of this farm is my
mother.
Mole. That can't be ! You are no duck.
Duckling. Yes, but I am. Only, I am uglier
than any duck in the world.
THE UGLY DUCKLING 59
Mole. You have not the voice of a duck. You
do not speak with the quack of which they are
so proud. And then, if you are truly a duck, why
are you not with your family?
Duckling. They drove me out last summer
because I was ugly and could not quack.
Mole. Then why have you come back ?
Duckling. To let the swans kill me.
Mole. What! To let them kill you?
Duckling. I would rather be killed by those
beautiful birds than pecked by the hens, beaten
by the geese, or starved with hunger in the win-
ter.
Mole. Perhaps you are not so ugly now as
you were then.
Duckling. I have not looked at myself in the
water since spring came and took the ice away.
But I know well enough how dark and badly
formed I am. The swans will kill me if I dare
to approach them.
, [A noise is heard in the distance.]
Mole. They are coming ! Go, while there is
yet time.
Duckling. There is no place to go to. All
60 THE UGLY DUCKLING
winter long I was driven from moor to moor. I
could not make a friend — I no longer wish to
live.
[The Swans are seen swimming dovm the
brook.]
Mole. They are here ! Do not go to them, I
pray you !
Duckling (shaking head). Farewell!
[He flies to the water and svnms toward the
Swans. They see him and rush to meet him with
outstretched wings.]
Duckling. Kill me! Kill me!
First Swan. Kill you ! Why, we have come
to welcome you, beautiful stranger.
Second Swan. We saw you from afar, and
came to meet you.
Third Swan. We are so happy to have you
with us !
[Enter several Children.]
First Child. See, there is a new swan!
Second Child (calling). Father, mother,
come ! There is another swan !
[Enter the Father and Mother.]
Father. What were you calling?
THE UGLY DUCKLING 61
Thikd Child. A new swan has come! Look!
MoTHEK. I see him ! He is beautiful !
Fathek. He is very young, but he is the most
beautiful of all !
FouKTH Child. See how the others stroke
him with their beaks !
Mothek. They are showing him how glad
they are to have him with them. See how they
swim around him and how gently they touch
him!
Father. I have never seen anything so pretty.
How happy the new swan is ! See how he rustles
his feathers! See how proudly he curves his
slender neck !
First Child. And see how he looks at him-
self in the water!
Second Child. Let's get bread and cake for
him!
Third Child. Yes, yes!
Fourth Child. Yes, yes!
[The Children run off, followed by the Father
and Mother.]
Mole (going into his hill). 'T was not so bad
after all — not to have the family quack !
THE RED SHOES
SCENE I
Time : one morning.
Place : the Shoemaker* s shop.
Grandmother.
Karen.
Shoemaker.
[The Grandmother and Karen enter the
shop of the Shoemaker.]
Grandmother. This is my little grand-
daughter Karen, Shoemaker. Please to take her
measure for a pair of shoes.
Shoemaker. What kind do you wish, ma-
dam?
Grandmother. Morocco, the finest you have.
Karen is to wear these shoes to church.
Shoemaker. What color do you wish, ma-
dam?
Grandmother. Black.
Karen (whispering to Shoemaker). Red.
THE RED SHOES 68
Shoemaker (puzzled). Eh?
Grandmother (louder). Black.
Karen (whispering to Shoemaker). Red.
Shoemaker. Of course, madam, if you say
black, black they shall be.
Karen. The little princess wore red shoes.
Grandmother.
Shoemaker (nodding). That is true; I saw
them myself.
Grandmother. Red shoes?
Karen (nodding). Of beautiful red morocco.
The queen let the princess stand at a window so
every one could see her new shoes.
Shoemaker. It is all true, madam.
Grandmother. No matter; Karen is to have
black shoes.
(Taking up a pair of shoes.)
Here, this pair suits me exactly.
Shoemaker (surprised). But, madam, those
shoes are —
Karen (interrupting; whispering). Hush,
Shoemaker ! Do not tell her. She can't see very
well.
Grandmother (giving shoes to Karen). Are
64 THE RED SHOES
they of polished leather ? They shine as if they
were.
Karen. Yes ; they do shine.
(Trying on the shoes.)
And they just fit me, Grandmother.
Grandmother. I will take them, Shoemaker.
Shoemaker. But, madam —
Karen (interrupting ; whispering). Hush,
Shoemaker ! She will never know the diflFerenee.
Grandmother. Here is the money. Shoe-
maker. Come, Karen.
Shoemaker. But, madam —
Karen (interrupting). I am ready. Grand-
mother.
Grandmother. Good day. Shoemaker.
Shoemaker. But, madam —
Karen (interrupting). Good day. Shoemaker.
[The Grandmother and Karen gro.]
THE RED SHOES «5
SCENE II
Time : the next Sunday y after church.
Place : the Qrandmother'a home.
The Grandmother.
Karen.
{First.
Second.
Third.
Fourth.
[The Neighbors sit with the Grandmother
in the spare room becaitse it is Sunday.]
First Neighbor. I did not see you at church
to-day, Grandmother.
Grandmother. I could not go, but I sent
little Karen.
Second Neighbor (mysteriously). Oh, yes;
we saw her ! Everybody saw her !
Grandmother (proudly). People do look at
her; she is so pretty.
Third Neighbor. People did n't look at her
face to-day.
Grandmother (alarmed) . What do you mean ?
66 THE RED SHOES
Third Neighbor. Ask Karen when she re-
turns. We're not the ones to carry tales.
Grandmother (looking ovt window). Here
she comes now !
Fourth Neighbor. Just ask her about the
sermon and the hymns !
Grandmother (proudly). She will tell me
almost every word the pastor said. She is a
smart girl — that Karen.
[Enter Karen.]
Karen. Well, Grandmother, here I am!
Good morning, Neighbors.
Neighbors (coldly). Good morning, Karen.
Grandmother. Now tell me about the ser-
mon, Karen. What was the text ?
ICaren (with confiLsion; stammering). The
text ? It was — it was — Oh, I will tell you all
about it by and by. Grandmother. Our Neigh-
bors want to talk with you now.
First Neighbor. Oh, no ! We would rather
hear you tell your Grandmother about the ser-
mon and the music.
Grandmother. What hymns did they sing,
Karen ?
THE RED SHOES 67
KA.REN {as before). Hymns? They sang —
let me see — they sang —
[She stops in confttsion.]
Grandmother. Why, Karen ! Are you
ill?
Second Neighbor. No, Grandmother, Karen
is not ill. She is ashamed. She was not thinking
of the beautiful music nor of the sermon this
morning. Is that not true, Karen ?
Karen (ashamed) . Y-e-s —
Grandmother. What is this ?
Third Neighbor. Tell your Grandmother
what you were thinking about in church,
Karen.
Karen. I was thinking about — about — my
new shoes.
Grandmother. A great thing to think about
in church — a pair of plain black shoes !
Fourth Neighbor. She did not wear her
black shoes ; she wore red shoes!
Grandmother (gapping). Red shoes — to
church ?
First Neighbor (nodding). Every one was
terribly shocked!
68 THE RED SHOES
Grandmother (still gasping). Red shoes to
church !
Second Neighbor. Even the pastor looked
at her shoes !
Grandmother (indignantly). Red shoes to
church !
Third Neighbor. The choir looked! All
fixed their eyes on Karen's red shoes.
Grandmother. It is the most shocking thing
I ever heard ! Do you hear me, Karen ?
Karen (hanging her head in shame). Yes,
Grandmother.
Grandmother. You must never, never, so
long as you live, wear red shoes to church again.
It is not at all proper. Do you hear me, Karen ?
Karen (as before). Yes, Grandmother.
Fourth Neighbor. Do you think she should
have her Sunday dinner ?
Grandmother. Not one bite ! She shall stay
in her room all day. Do you hear me, Karen ?
Karen. Yes, Grandmother.
Grandmother. Thank you for telling me.
Neighbors. To think of it! Red shoes to church !
THE RED SHOES
SCENE m
Time : Ihe following Sunday^ after church.
Place : the churchyard.
The Grandmother.
Karen.
The Old Soldier.
The Coachman.
[The Grandmother and Karen come from
the church. The Old Soldier stands near the
church door. He tries to speak to the Grand-
mother, but she does not hear him.]
Karen. Wait a moment, Grandmother ! The
Old Soldier wants to speak with you.
Grandmother (turning) . What do you want,
Old Soldier?
Old Soldier. I want to dust your shoes,
madam.
Grandmother. That is very good of you.
(Old Soldier dusts her shoes).
Thank you ; now I will go to my carriage while
you dust Karen's shoes.
[She goes.]
70 THE RED SHOES
Old Soldier. Stretch out your foot, little
Karen.
(Karen thrusts out her foot.)
What is this ? Red shoes for church ?
Karen. I looked at my old black shoes —
Old Soldier (interrupting). And then at
your new red ones ?
Karen (nodding). Yes, and then at my black
ones again —
Old Soldier (interrupting). And then put
on your red ones !
Karen. Sh-h ! Grandmother must not know.
Old Soldier. She can't hear, for I am talk-
ing through my long red beard.
Karen. Why is your beard so red. Old Sol-
dier?
Old Soldier. To make more light for my
eyes — that I may see without looking.
Karen. See without looking ?
Old Soldier (nodding). I was not in the
church, yet I saw you clearly when you knelt
at the altar and raised the golden cup to your
lips.
Karen (surprised) . You saw that ?
THE RED SHOES 71
Old Soldier (nodding). And more — I saw
your thoughts.
Karen. You saw my thoughts ?
Old Soldier (nodding). It was to you as if
your red shoes passed before your eyes in the cup.
Am I not right ?
Karen (showing fear). Y-e-s —
Old Soldier. And I saw by the light of my
beard that you forgot to sing the hymns; eh,
Karen ?
K^AREN. Y-e-s —
Old Soldier. And that you forgot to say
your prayers ; eh, Kiiren ?
K^AREN. Y-e-s —
Old Soldier. You were thinking of your
red shoes all the time.
Karen. Y-e-s, Old Soldier.
Old Soldier (holding Karen and stooping
until his beard covers her shoes). Cover and
touch and change, my beard ! Cover and touch
and change !
Karen. What are you doing ? Let me go !
Old Soldier (holding her firmly) . I am turn-
ing your red shoes into dancing shoes !
72 THE RED SHOES
Karen. I am afraid of you ! Let me go !
Old Soldier (slapping soles of her shoes with
hand). Now I have made them stick fast to your
feet!
Kajren (calling). Grandmother! Grandmo-
ther!
Old Soldier. Now you may go ! Ha, ha !
K^AREN. Why! I am dancing! I can't stop!
Grandmother ! Grandmother !
Grandmother. What is this ? Mercy on me !
She is dancing down the street! Run after her.
Coachman! Quick! Stop her!
Coachman (running after Karen). Stop, Mis-
tress Karen ! I 'm after you !
Old Soldier. Ha, ha, ha! You will never
catch her!
Grandmother (calling after Coachman).
There she goes around the corner !
Coachman (calling off). 1 11 get you. Mistress
Karen ! Just stop a bit !
Old Soldier. Ha, ha, ha! You will never
catch her!
Grandmother. My poor Karen! My poor
Karen !
THE RED SHOES 73
Coachman (returning). I could n't catch her,
madam ! She danced right out of the town gate !
Grandmother. Out of the town gate ?
Coachman. Yes, madam, and straight for the
dark wood.
Grandmother. We will drive after her!
[Coachman jumps to his seat]
Old Soldier. Ha, ha, ha! You will never
catch her!
Grandmother. Quick, Coachman, quick!
We must catch her before she gets to the dark
wood. My poor Karen! My poor Karen!
[The carriage dashes off.]
SCENE IV
Time: three days later ; evening.
Place : the dark wood. A hut is seen among the vines.
The Forester. The Executioner.
His Son. The Old Soldier.
K^REN. The Fairy Queen.
Moon.
[The Forester and his Son are jelling a tree.]
Karen {heard calling off) • Stop me ! Stop me !
74 THE RED SHOES
Son. Heard you that cry ?
Forester (looking ojf). Mercy on us! 'Tis
the dancing girl I told you of!
[Enter Karen, dancing.]
Karen. Stop me. Forester!
Forester. No, no! I dare not!
Karen (to Son). Stop me, I pray you! Three
days have I danced ! I can endure it no longer !
Son (to Forester). Come, let us help her!
Forester. Do not touch her! She is be-
witched !
Karen. 'T is my shoes are bewitched — not
I!
Son. I say, little maid, pull off your shoes !
Karen. They will not come off. See!
[She pulls at her shoes.]
Son (starting towards Karen) . I '11 get them
off, bewitched or not bewitched!
Forester (seizing Son). Would you get your-
self into trouble ? Come home with me !
[Forester runs from wood with Son. The
Moon arises suddenly in a fir tree.]
Karen. O Moon, see how I dance below you !
Pray tell me how to break this spell !
THE RED SHOES 75
Moon. Ha, ha, ha!
[The Moon changes into the red beard of the
Old Soldier.]
Old Soldier. My beard makes moonlight
for me that I may watch you dance.
Karen. Mercy, Old Soldier! I pray you
break your spell !
Old Soldier. You forgot to say the prayers !
You thought only of your red shoes !
Karen. I will go barefoot to church !
Old Soldier. You whispered "red"' to the
Shoemaker !
Karen. I will never deceive my dear Grand-
mother again ! Have pity !
Old Soldier. You shall dance in your red
shoes till you are pale and cold! By night and
by day you shall dance ; in sunshine and in rain ;
in snow and in sleet. Over highways and byways
shall you dance ; in dark swamps and on moun-
tain tops. You shall go on dancing, dancing,
dancing, forever and ever!
[He disappears.]
Karen. I cannot dance on forever! I can-
not! I cannot!
76 THE RED SHOES
(Weeping; patLse.)
Well, I know a way to break the spell, and I '11
doit!
iCrossing to hut of the Executioner; knocking.)
Come out! Come out!
Executioner (from within the hvi). Come
in!
Karen. I cannot come in; I must dance.
Executioner. Then I will come out.
(The Executioner comes out from hut.)
Well, do you know me ?
Karen. You are the Executioner.
Executioner. I am the Executioner. I cut
off the heads of wicked people with this great ax.
Karen. Do not strike off my head!
Executioner. And why not strike off your
head, pray?
Karen. I must have that to repent of my sin.
So please to cut off my feet.
Executioner. It shall be as you say. Thrust
out your foot, maid.
[Enter Fairy Queen.]
Fairy Queen. Stay, Executioner, stay! I've
come to save you, Karen !
THE RED SHOES 77
Karen. To save me ?
Fairy Queen. Whenever a child repents of
a sin, lo, I am there to save.
Karen. Will you remove this spell from me ?
Fairy Queen. Will you give up your red
shoes?
Karen. Gladly! Gladly! I wish I might
never see them again !
Fairy Queen. Then dance to me that I may
touch you with my wand.
[Fairy Queen touches KarerCs shoes with her
wand. The shoes jail off.]
Karen. Dear Fairy Queen! Dear Fairy
Queen ! I thank you ! I thank you !
Fairy Queen. Look, Karen, your shoes are
dancing away! Soon they will be lost to you
forever. Shall I not bring them back ?
Karen. No, no! Let them go! Now I am
free ! Now I can rest !
Fairy Queen. Then come, dear child, I will
guide you to your home.
THE STORY OF ALI COGIA
SCENE I
Time : one evening.
Place : the house of a merchant in Bagdad,
The Merchant.
The Merchant's Wife.
[The Merchant and his Wife are at supper.]
Wife. Our neighbors bought some fine olives
to-day. It has been a long time since we have had
olives. I am quite hungry for them.
Merchant. Now you speak of olives, you put
me in mind of the jar which Ali Cogia left with
me.
Wife (pointing to a jar in another part of
the room). There is the very jar waiting for him
against his return.
Merchant. Certainly he must be dead, since
he has not returned in all this time. Give me a
plate ; I will open the jar, and if the olives be
good, we will eat them.
THE STORY OF ALI COGIA 79
Wife. Pray, husband, do not commit so base
an action. You know nothing is more sacred
than what is left to one's care and trust.
Merchant. But I am certain Ali Cogia will
never return.
Wife. And I have a strong feeling that he will.
What will he think of your honor if he finds the
jar has been opened ?
Merchant. Surely a jar of olives is not to be
guarded so carefully, year after year.
Wife. That is Ali Cogia's affair, not ours.
Besides, the olives can't be good after all this
time.
Merchant (taking a plate). I mean to have a
taste of them, at least.
Wife (indignantly). You are betraying the
trust your friend placed in you! I will not re-
main to witness it.
[She leaves the room. The Merchant crosses
and takes cover from jar.]
Merchant (looking in jar). My wife was
right — the olives are covered with mould, but
those at the bottom may still be good.
80 THE STORY OF AU COGIA
[He turns the jar up and shakes out the olives.
Several gold pieces fall out]
Merchant. What is this ? Gold pieces ! As
Hive! Gold! gold!
[He shakes the jar again; a shower of gold
pieces fall.)
Merchant (dropping the jar in astonishment) .
A thousand pieces at least ! The top of the jar
only was laid with olives!
(He puts the gold into his pockets.)
To-night, when my wife is asleep, I will fill the
jar entirely with fresh olives, for these show they
have been disturbed. And I will make up the
jar so that no one, except Ali Cogia himself, will
know they have been touched.
"A THOUSAND PIECES AT LEAST!"
82 THE STORY OF AU COGIA
SCENE II
Time : one month later; a moonlight night.
Place : a smaU court opening upon a narrow street of
Bagdad,
The Caliph.
The Grand Vizier.
First Child, who plays he is the Cauzee*
Second Child, who plays lie is the officer.
Third Child, who plays he is AU Cogia.
Zeyn, who plays he is the Merchant.
Two Boys, who play they are Olive Merchants.
Many other Children, who look on.
[The Caliph, accompanied by his Grand
Vizier, enters the narrow street upon which the
court opens. They are in disguise^ appearing as
merchants^
Caliph. Perhaps we may hear some talk of
this affair of Ali Cogia and the merchant, as we
go through the city to-night.
Vizier. It is possible, O Commander of the
true Believers! The affair has made a great
noise in Bagdad.
* a Mohammedan judge.
THE STORY OF ALI COGIA 83
Caliph. Ali Cogia carried the merchant be-
fore the Cauzee, I believe.
Vizier. Yes; he claimed that the merchant
had taken from him one thousand pieces of
gold.
Caliph. Proceed; I would know all.
Vizier. Ali Cogia left with this merchant, so
he says, a jar in which he had placed this money.
Upon his return, which was but yesterday, he
went to the merchant, and, having received the
jar, opened it. To his surprise he found that
the gold, which he had hidden below a layer of
olives, was no longer there.
Caliph. Ah, that is what Ali Cogia says.
What says the merchant ?
Vizier. The merchant made oath before the
Cauzee that he did not know there was money in
the jar, and so of course could not have taken it.
Caliph. And the Cauzee dismissed the mer-
chant, I believe.
Vizier. Yes, Commander of the Faithful, the
merchant was acquitted.
Caliph. This Ali Cogia presentied a petition
to me to-day, and I promised to hear him to-
84 THE STORY OF ALI COGIA
morrow. Would that I could know the truth of
the matter that I may give a just sentence !
[They arrive at the court where several Child-
ren are playing in the moonlight. The Caliph
stops to watch them.]
First Child. Let us play that the Cauzee is
trying the Merchant.
Second Child (joy f idly). Yes, yes!
Third Child (joyftdly). Yes, yes!
All Children (clapping their hands). Yes,
yes!
Caliph (softiy to Vizier). Let us sit on this
bench. I would know what these children are
playing.
[They sit^ but are not seen by children.]
First Child (taking his seat with 'great dig-
nity). I choose to be the Cauzee!
Second Child (taking his place behind the
Cauzee). I choose to be the Officer!
Third Child. I choose to be Ali Cogia!
Cauzee. Who chooses to be the Merchant?
[Long pause; all the Children hang ba^k.]
Cauzee. Come, Zeyn, you be the Merchant.
Zetn. Not I! The part does not please me.
THE STORY OF AU COGIA 85
Officer. Would you spoil everjrthing, Zeyn ?
Zeyn. Oh, well, then, I'll be the Merchant
this time.
Cauzeb. OfBcer, bring in the accused and his
accuser.
[The Officer presents the Merchant and Ali
Cogia before the Cauzee.]
Cauzee. Ali Cogia, what charge have you to
make against this Merchant ?
Ali Cogia (bowing). Sir, when I journeyed
from Bagdad seven years ago, I left with this
Merchant a jar. Now, into this jar I had put,
with some olives, a thousand pieces of gold.
When I opened the jar, I found that it had been
entirely filled with olives; the gold had dis-
appeared. I beseech your honor that I may not
lose so great a sum of money !
Cauzee. Merchant, what have you to say to
this charge ?
Merchant. I confess that I had the jar in my
house, but Ali Cogia found it exactly as he had
left it. Did he ever tell me there was gold in the
jar? No. He now demands that I pay him one
thousand pieces of gold. I wonder that he does
80 THE STORY OF ALI COGU
not ask me for diamonds and pearls instead of
gold. I will take my oath that what I say is the
truth.
Cauzee. Not so fast! Before you come to
your oath, I should be glad to see the jar of olives.
(Turning to AH Cogia.)
Ali Cogia, have you brought the jar ?
Ali Cogia. No ; I did not think of that.
Cauzee. Then go and fetch it.
[Ali Cogia goes.]
Cauzee (to the Merchant). You thought the
jar contained olives all this time ?
Merchant. Ali Cogia told me it contained
olives at the first. I will take oath that what I
say is the truth.
Cauzee. We are not yet ready for your oath.
[An Cogia enters. He pretends to set a jar
before the Cavzee.]
Cauzee. Ali Cogia, is this jar the same you
left with the Merchant ?
Ali Cogia. Sir, it is the same.
Cauzee. Merchant, do you confess this jar
to be the same ?
Merchant. Sir, it is the same.
THE STORY OF ALL COGIA 87
Cauzee. OflScer, remove the cover.
(The Officer pretends to remove the cover.)
These are fine olives! Let me taste them.
(Pretending to eat an olive.)
They are excellent! But I cannot think that
olives will keep seven years and be so good.
Therefore, Officer, bring in Olive Merchants, and
let me hear what is their opinion.
Officer (announcing). Forward, two Olive
Merchants !
[Two Boys present themselves].
Cauzee. Are you Olive Merchants ?
Boys {bowing). Sir, we are.
Cauzee. Tell me how long olives will keep.
First Olive Merchant. Let us take what
care we can, they will hardly be worth anything
the third year.
Second Olive Merchant. It is true, for then
they will have neither taste nor color.
Cauzee. If it be so, look into that jar and tell
me how long it is since those olives were put into
it.
[Both Merchants pretend to examine and taste
the olives.'\
88 THE STORY OF ALL COGIA
First Olive Merchant. These olives are
new and good.
Cauzee. You are mistaken. Ali Cogia says he
put them into the jar seven years ago.
Second Olive Merchant. Sir, they are of
this year's growth. There is not a merchant ia
Bagdad that will not say the same.
Cauzee. Merchant, you stand accused. You
must return the thousand pieces of gold to Ali
Cogia.
Merchant. Sir, I protest —
Cauzee (interrupting). Be silent! You are a
rogue. Take him to prison, Officer.
[All the children seize the Merchant and run
from the courts laughing and shouting.]
Caliph (rising). I know now what will be a
just trial. I have learned it from the child
Cauzee. Do you think I could give a better sen-
tence ?
Vizier. I think not, if the case be as these
children played it.
Caliph. Take care to bid Ali Cogia bring his
jar of olives to-morrow. And let two olive mer-
chants attend.
THE STORY OF ALI COGIA 89
Vizier. It shall be done, O Commander of
true Believers!
Caliph. K the olives be indeed fresh, then the
merchant will receive his punishment and Ali
Cogia his thousand pieces of gold.
(Starting off; stopping.)
Take notice of this street, and to-morrow
present the boy Cauzee with a purse of gold.
Tell him it is a token of my admiration of his
wisdom and justice.
THE
WILD
SWANS
SCENE
I
Time:
a long time
ago.
Place:
: on the seas
hore.
Eliza.
The Goody.
[The Goody is seen walking along the shore.
Eliza enters from the forest]
Goody. Bless me! What is the little girl
doing in this lonely place ? And alone, too !
Eliza. I seek my eleven brothers.
Goody. Ah ! Then you must be the Princess
Eliza!
Eliza (sadly). Yes, Goody.
Goody. And the eleven brothers you seek are
the eleven little princes !
Eliza. Yes ; do you know them ?
Goody. I saw them in school one day. Each
prince wore a golden crown on his head, a star
on his breast, and a sword by his side.
THE WILD SWANS 91
Eliza (nodding). They studied very hard, just
as princes should.
Goody. They wrote on gold slates with dia-
mond pencils. I myself saw them!
Eliza. I sat on a little stool of plate-glass.
Did you know that ?
Goody. Oh, yes! And I know about your
picture-book worth half a kingdom.
Eliza. We were all so happy then ! Our dear
mother was alive and sometimes went to school
with us. Now all is changed.
Goody. What has happened ?
Eliza. They have driven us from the palace.
Goody (indignantly). I said so! On the day
of that wedding I said so.
Eliza. Then you know that my father married
again ?
Goody. Yes, I know. I wept when I heard
our good king had married that wicked queen.
Eliza. She drove my brothers away, the very
day of the wedding feast.
Goody. And now she has driven you away!
Eliza (nodding). If only I could find my dear
brothers !
92 THE WILD SWANS
Goody. You may hear something about them
very soon.
Eliza (quickly) . Do you know where they are ?
Tell me ! I pray you tell me!
Goody (shaking her head mysteriously). I
cannot say where they are. I only know what
they are.
Eliza. I do not understand —
Goody. The wicked queen has turned your
brothers into wild swans.
Eliza. Wild swans ?
Goody (nodding). I saw them yesterday, at
sunrise, flying out over the sea. Each swan wore
a gold crown on his head.
Eliza. The queen could not take their crowns
from them !
Goody. As the swans flew upward, their
eleven crowns glittered like eleven suns. My eyes
were dazzled. I was obliged to look away. At
that moment the swans disappeared.
Eliza (sadly to herself). My poor brothers!
I shall never see them again.
Goody (suddenly). Do you see those great
blue bluffs to the south ?
THE WILD SWANS 93
Eliza. Yes ; the sea is dashing against them.
Goody. In those bluffs, back from the shore,
is a cave. Go at once to that cave and enter.
Eliza. And^ what shall I do there, good
woman ?
Goody. Perhaps you may leam how to break
the spelTover your brothers.
Eliza (surprised). How to break the spell ?
Goody. Ask no questions, but go at once to
the cave.
Eliza (going). Thank you, good woman.
You are very kind to me.
Goody. Go now, child, and fear nothing.
[Eliza goes; the Goody disappears.]
SCENE II
Time : a half -hour later.
Place : the cave.
Eliza.
The Fairy.
[Eliza is seen at entrance of cave. She stops ;
is afraid to enter ^
Eliza. I am afraid to enter ! It is so dark —
94 THE WILD SWANS
I know not what is within! It may be the den
of some wild animal.
(Listening.)
Not a sound do I hear ! But wild animals are
cunning. They know how to lie as still as death
and then to leap quickly.
(Paicse.)
Well, be it so. I will enter, for I must save my
brothers.
[She enters the cave. Fairy is within the cave,
but invisible.]
Fairy. You have courage, little Eliza.
Eliza (showing relief). Oh! Are you here,
good woman ?
Fairy. Behold!
[The cave is filled with light; a beautiful Fairy
is seen.]
Eliza. Ah ! I thought it was the Goody.
Fairy. No matter, dear child. I knew you
were to come here.
Eliza. I was afraid to enter.
Fairy. But you did enter. Your love for your
brothers was greater than your fear.
Eliza. It was that which gave me courage.
THE WILD SWANS 95
Fairy. It was a test of your courage. And
now I can tell you how to break the spell over
your brothers.
Eliza. I will do whatever you say.
Fairy. You will suflfer greatly.
Eliza. What matter, if I save my brothers!
Fairy (nodding). Then listen. Do you see the
stinging nettles which I hold in my hand ?
Eliza. Yes, dear Fairy.
Fairy. You must gather great quantities of
these.
Eliza. I noticed many of the same sort grow-
ing near this cave.
Fairy (shaking head). You must gather only
those that grow in graveyards.
Eliza. It shall be exactly as you say, dear
Fairy.
Fairy. The nettles will make blisters on your
hands.
Eliza. I will not think of myself ; I will think
only of my brothers.
Fairy. Break the nettles into pieces with your
hands and feet, and they will become flax. From
this flax you must spin and weave eleven coats
06 THE WILD SWANS
with long sleeves. If these eleven coats can be
thrown over the eleven swans, the spell will be
broken.
Eliza. It shall be done.
Fairy. But remember, that from the moment
you begin your task, until it is finished, you must
not speak. Even though it should occupy years
of your life, you must not speak.
Eliza. I shall remember.
Fairy. The first word you utter will pierce
through the hearts of your brothers like a dagger.
Their lives hang upon your tongue. Go now and
begin your task.
Eliza (going). I go, dear Fairy.
Fairy. Remember all I have told you, dear
child. Farewell!
[Eliza goes; the cave becomes dark; the Fairy
disappears.]
THE WILD SWANS 97
SCENE in
Time : two days later.
Place: a dUtant country; the King^s pahce.
The King.
His Wicked Uncle.
Eliza.
Guardsmen.
Servants.
[The Wicked Uncle stands waiting to receive
the King. Enter the King vrith Eliza. She is
pale and sad.]
Wicked Uncle. Welcome, your Majesty! Wel-
come home from your hunt! But who is this
maiden ?
King. I know not, my Uncle.
Wicked Uncle. What ?
King. My huntsmen found her in a cave in a
far-oflf country.
Wicked Uncle. In a cave ? Alone ?
King (nodding). Alone ; spinning coats out of
flax.
Wicked Uncle. This is very strange.
(To Eliza.)
98 THE WILD SWANS
Why were you all alone in a cave, and why were
you spinning coats ?
(Eliza shakes her head.)
King. She is dumb, Uncle. Not a word has
she uttered since we found her.
Wicked Uncle. Why did you bring her with
you?
King. I will make her my queen.
Wicked Uncle (angrily). Your queen?
King. See how beautiful she is.
Wicked Uncle (whispering to King). She is
a witch !
King. Nonsense! She is as good as she is
beautiful.
Wicked Uncle (whispering as before). She
has bewitched your heart !
King. Nonsense, I say ! She did not want to
leave the cave. She wept bitterly when I put her
on my horse.
(He turns to the servants.)
Let the music sound! Prepare the wedding
feast !
(He turns to Eliza^ who weeps.)
Do not weep, my beautiful maid.
THE WILD SWANS 99
Wicked Uncle {whispering to King). She is
not beautiful. She has bewitched your eyes.
King. I will not listen to you ! Go, bid them
ring the church bells.
Wicked Uncle (going; speaking aside). I
must poison his heart against her in some way;
else I '11 never wear the crown.
[Wicked Uncle goes.]
King {to Eliza). Do not weep. You shall be
dressed in silks and velvets and I will place a
golden crown upon your head.
{Eliza weeps and wrings her hands.)
Well, then, I know how to make you smile.
[The King opens a door into an inner room.
Eliza looks in^ smiles^ and claps her hands for
joy-]
King. I thought *t would make you happy !
'T is very like your cave — I had it made so.
{Eliza tries to thank King with her eyes.)
But no more spinning ! Your fingers shall be
covered with diamonds instead of blisters.
{Eliza sighs very sadly.)
Something troubles you, little queen. If you
could only tell me of your grief !
100 THE WILD SWANS
{Eliza shakes her head sadly.)
Well, I can at least save you from a life of
labor. You shall be most tenderly cared for.
(Calling.)
Ho, there. Guardsmen!
{Enter Guardsmen.)
Guardsmen, behold your queen !
{Guards kneel before Eliza.)
Guardsmen, arise and hear my commands.
{Guards rise.)
Your queen is never to do any of the work
about the castle. Do you hear me. Guardsmen ?
Guardsmen {bovnng). We hear, O King!
King. Not even the spinning or weaving. Do
you hear me, Guardsmen ?
Guardsmen {bovring). We hear, O King!
King. Those are my commands. Now attend
us to the banquet-hall.
{To Eliza^ who is weeping.)
Weep no more, little queen. I wish only your
happiness. Come, give me your hand. We go
now to the wedding feast.
[They go out, the Guards attending.]
THE WILD SWANS 101
SCENE IV
Time: tv>o weeks later; sunrise.
Place : the open just vnihotU the town gate.
The GrooDY.
The Wicked Uncle.
The King.
Eliza.
Her Eleven Brothebs.
The Executioner.
First Citizen.
Second Citizen.
Third Citizen.
Fourth Citizen.
Guards.
[Enter crowds of people from the tovm gate.
Enter the Goody from the forest Enter the
Wicked Uncle from the town gate.]
Goody {to Wicked Uncle). Why these crowds
so early, sir ?
Wicked Uncle. Do not call me *sir.'
Goody. What shall I say, sir ?
Wicked Uncle. Say, *Your Highness.'
Goody. But you are not the King, sir.
10« THE WILD SWANS
Wicked Uncle. I 'm very near it, old wo-
man.
Goody. Not so near, sir, as you were, sir.
There is the new queen, sir.
Wicked Uncle. The new queen is about to
die.
Goody (alarmed). About to die?
Wicked Uncle (nodding). Aye, because she 's
a witch. They 're bringing her out here now.
Goody. The King permits it ?
Wicked Uncle (nodding). He soon found out
the truth about her.
Goody. And what was that ?
Wicked Uncle. Just what I told him the first
time I saw her. " She 's a witch,'" said I, but he
would not believe me.
Goody. What has so changed him ?
Wicked Uncle. 'Twas I who saw her slip
forth from the castle one midnight. I followed
her ; straight to the graveyard she went.
Goody. To the graveyard ?
Wicked Uncle (nodding). In she went —
I following. I saw her gather the stinging nettles
that grow there.
THE WILD SWANS 108
Goody. But they would blister her hands.
Did she not cry out ?
Wicked Uncle. Not a sound did she utter!
That would prove her a witch, were there no-
thing more.
Goody. Ah, there is something more, then ?
Wicked Uncle (nodding; mysteriously) . I fol-
lowed her back to the castle ; through the marble
halls and up to the little cave room. I saw her
break up the nettles. Then I saw her spin and
weave this flax into a magic coat.
Goody. Bless me ! A magic coat ?
Wicked Uncle (nodding). There were ten of
them hanging from the ceiling.
Goody. Of course you told the King ?
Wicked Uncle. Just as soon as I could waken
him, but he would not believe me. He said there
was but one coat when they brought her here,
and that there could be but one now.
Goody. She worked at night, then, while the
castle slept.
Wicked Uncle. True queens do not work —
nay, can't be made to work. Every one knows
that.
104 THE WILD SWANS
Goody. But how did the King find out the
truth ?
Wicked Uncle. I persuaded him to watch
with me the next night. Just at midnight the
queen came out. We followed her to the grave-
yard. "That is enough/' said his Majesty, "she
is a witch and must die.**
[The Citizens rush to the gates.]
Citizens (calling). See the witch!
Goody. Is she coming?
Wicked Uncle (looking). Yes, she is just
within the gate. She rides in an old cart drawn
by an old horse — quite good enough for a
witch.
[Enter the King with servants and Guards.
Behind them is the cart. In the cart sits Eliza.
She is spinning and weaving^ never once looking
up.]
Goody. How pale she is! Bless me! She
is spinning and weaving.
Wicked Uncle. It is the eleventh coat and it
will be the last.
Goody. How she hurries to finish it !
[The cart stops.]
THE WELD SWANS 105
King (to Eliza). Once again I ask you, —
Are you a witch ?
{Eliza shakes her head.)
Then give up the coats. They are of no use
to any one.
[Eliza again shakes her head.]
Wicked Uncle. That proves her a witch!
Else, she would give up the coats.
King (to Eliza). Once more, — Will you not
give them up ?
[Eliza shakes her head. The King turns away.
He is very sad; his eyes are filled with tears.]
First Citizen {calling). See the witch!
Second Citizen {calling). See her magic
coats !
Third Citizen {calling). Let us tear them to
pieces !
Fourth Citizen {calling). At them. Citizens!
Tear them to shreds !
Goody {looking up; speaking aside). Here
come the Wild Swans ! Now we shall see what we
shall see!
[Eleven Wild Swans descend from the sky and
alight on the cart. Each wears a golden crovm.]
106 THE WILD SWANS
First Citizen. Back, Citizens, back! Wild
Swans have alighted on the cart !
Fourth Citizen. What do we care for Wild
Swans .^ Forward, Citizens!
First Citizen. Back, I say ! The Swans are
beating us with their strong wings !
Second Citizen. Back! back. Citizens! We
dare not approach the cart !
Goody (calling to the people) . The Swans have
come to save the queen ! *T is a sign from heaven
that she is innocent!
Wicked Uncle (angrily). Be silent, old
woman !
(He turns to the Executioner.)
Executioner, do your duty !
Executioner. Out of the cart, witch !
(Eliza shakes her head; takes up coats from
floor of cart. The Executioner turns to the Wicked
Uncle.)
She will not come!
Wicked Uncle. Seize her — I command you !
First Citizen. Seize her ! Seize her !
Goody. Look, Citizens, look ! She is spread-
ing the coats over the Swans !
THE WILD SWANS 107
[Eliza throws the eleven coats over the eleven
SwanSy who turn to eleven little princes, but the
youngest has a swanks wing instead of an amiy for
the last sleeve was not finished.]
First Citizen. Do you see that, Citizens ?
They are princes! She has saved them!
Second Citizen. She is no witch!
Third Citizen. She is an angel from heaven !
The Eleven Brothers. Dear sister, you
have saved us !
Eliza. Now I may speak — I am innocent !
Eldest Brother (to King). Yes, she is in-
nocent !
Ninth Brother. How you have suflFered for
us, dear Eliza !
Citizens (to Eliza). Forgive us !
King (to Eliza). Forgive me ! I did not under-
stand.
Wicked Uncle {annoyed^ hut trying to conceal
it). And I did not understand, I —
King (sternly). Be silent!
(To Guards.)
Seize him !
(The Guards seize the Wicked Uncle.)
108 THE WILD SWANS
Take him to the mountains where the sting-
ing nettles grow.
Wicked Uncle. Mercy! Mercy!
King. You had no mercy on brave little Eliza !
Now you shall gather nettles for the rest of your
life. Away with him, Guardsmen !
{The Guards take the Wicked Uncle away. The
King turns to his servants.)
Let the music sound ! Bring forth the queen's
golden crown!
(To Eliza.)
My whole kingdom shall do you honor ! This
land has never seen a more beautiful thing than
your love for your brothers.
Goody (whispering aside). Ring, church
bells ! Ring of yourselves !
[All the church bells are heard ringing.]
•Citizens. Hear the church bells ! They ring
of themselves !
King. They ring for this sweet queen whose
heart is as good as her face is beautiful. Come,
Citizens ! Away now to the castle ! Away to the
banquet-hall !
THE TWO COUNTRYMEN
SCENE I
Time: evening.
Place: a large city ; a quiet comer with a high wall
lack.
First Countbybian.
Second Countryman.
First City Wag.
Second City Wag.
Merchant.
[Great crowds of people are seen in the streets.
The TWO Countrymen have just arrived. They
find a quiet comer where they pUice their blankets
and baskets of gourds which they carry. 1
First Countryman. I fear something most
dreadful must have happened in that street. See
what crowds of people pass that way!
Second Countryman. Perhaps there is a fire.
And yet —
[He stops, showing he is puzzled.]
no THE TWO COUNTRYMEN
First Countryman (anxiously). What trou-
bles thee ?
Second Countryman. Look thou into that
other street ! It, too, is full of people, and yet
none are gone from here.
First Countryman. Some awful accident
hath called them from all parts of the city. We
must find out what it may be.
[A Merchant passes.]
Second Countryman (to Merchant). I pray
thee stop, citizen.
(The Merchant stops.)
Canst thou tell us what dreadful thing hath
befallen this city ?
Merchant. What do you mean ?
[Two CITY Wags pass; they stop to listen.]
Second Countryman. Whither do they go,
these vast multitudes ? What dreadful thing go
they to see ?
First Countryman. Perhaps they flee from
some monster just come out of the sea ?
Merchant. It is ever thus — always the great
crowds surging through the streets.
[Th£ Merchant goes.]
THE TWO COUNTRYMEN 111
Second Wag (to Countrymen, winking aside
at First Wag). This is your first visit to a city,
I take it ?
Both Countrymen (bowing). It is, good sirs.
First Wag {winking aside at Second Wag).
You know what happens to strangers in our city,
of course ?
First Countryman (anxiously). No, good
sir.
Second Countryman (anxiously). Pray tell
us what it may be.
First Wag. 'T is said they become so dazed
by the noise of the city and the rush of such count-
less numbers, they forget who they are.
First Countryman. Eh? Forget who they
are?
First Wag (nodding). Aye.
(He winks aside at Second Wag.)
You have heard of this, dear friend ?
Second Wag (winking aside). To be sure;
't is quite common.
Second Countryman. Forget their own
faces ?
. Second Wag. Aye, — their faces. At least,
11« THE TWO COUNTRYMEN
they are not certain as to whose faces theirs
may be.
First Countryman. Then we dare not leave
this corner!
First Wag. I would not advise it.
Second Wag. It would be most unsafe, — at
least for to-night.
First Wag. Of course there is this danger, —
when you awake in the morning you may not
know whether you are yourselves.
Second Countryman. Would that I had
never left my farm !
First Countryman. Would that I had never
left my wife!
Second Wag. Do not despair ; there is a way
out of your troubles.
Both Countrymen. Tell us, we pray thee !
Second Wag. Each of you must take a gourd
from his basket there and tie it around his ankle.
Then, in the morning, when you awake, you will
each know that it is yourself and none other.
First Countryman (to Second Countryman,
joyfully). Dost thou he^r? By our gourds we
shall know!
THE TWO COUNTRYMEN 118
Second Countryman (joyfully). I hear!
Thanks and yet again more thanks to thee, good
sir!
[The Wags turn to go,]
First Wag. May you know yourselves in the
morning for what you truly are!
[They gro, laughing aMe. Each Country-
man ties a gourd around his ankle^ wrafs his
blanket round him, and lies down. They sleep.
Pau^e.
Enter the Wags softly^ each carrying a small
flag. They remove the gourds from Countrymen^ s
ankles and hide them under their blankets. They
then tie the flags around Countrymen^ s ankles and
go, greatly ^pleased with their joke.]
114 THE TWO COUNTRYMEN
SCENE II
Time : the next morning.
Place : same as Scene /.
First Countryman.
Second Countryman.
First City Wag.
Second City Wag.
[The Wags are seen peeping around the cor-
ner.]
First Wag (softly). They are sound asleep.
Second Wag (softly). Then come.
[They enter and throw the two baskets of gourds
over the wall. They then retire around the corner^
peeping as before.]
First Countryman (waking ; shaking Second
Countryman). Wake up! Wake up!
[Each yawns; stretches; throws off his blanket;
arises.]
First Countryman (remembering). Ah, the
gourds !
[Each looks at his ankle^ then at the other's
ankle.]
Second Countryman. How 's this I
THE TWO COUNTRYMEN 115
First Countryman. Did we not tie gourds
around our ankles ?
Second Countryman (nodding). Why, surely
we did.
First Countryman (looking about). Did we
not have two baskets of gourds with us ?
Second Countryman (nodding). Surely; there
in the corner.
First Countryman (holding up foot to which
flag is tied). Is this a gourd or is it not a
gourd ?
Second Countryman. Of a surety it is a flag.
(Holding up his foot with flug.)
And if this be not a gourd, keep thy silence.
[The First Countryman stares at the flag^ plac-
ing his finger on his closed lips.]
Second Countryman. Then it hath indeed
happened !
First Countryman. What hath happened ?
Second Countryman. The dreadful thing
foretold by the citizens. I am not I ! Thou art
not thou !
First Countryman (trembling with fear).
How can that be ?
116 THE TWO COUNTRYMEN
Second Countryman. I know not. I only
know that it is.
First Countryman (weeping). I cannot
think I am not myself !
Second Countryman (weeping). Thou
needst must think it, whether thou wouldst or
no.
First Countryman. Dost thou indeed think
thou art some other person ?
Second Countryman. If I were myself,
would not the gourd still be around my ankle ?
First Countryman. Then who art thou?
And who am I ?
Second Countryman. Alas ! I know not.
[Enter the Wags.]
First Countryman (joyfully). Here come
those who will know whether we are ourselves !
[The Wags pretend not to know the Countrymen
who are bowing before them. They pass on.]
Second Countryman. Stop, good sirs !
First Countryman. A word with thee !
[The Wags stop.]
Second Countryman. Dost thou not know
us?
THE TWO COUNTRYMEN 117
First Wag. I have not that pleasure.
First Countryman. Thou didst talk with us
but yester-eve !
Second Wag. Some mistake, I fear, my good
man.
[The Wags start off.]
Second Countryman (weeping). Wait! I
pray thee, wait !
(The Wags stop.)
Canst thou not tell us who we are ?
First Wag. Do you not know yourselves ?
Second Countryman. Alas ! we are not our-
selves.
First Countryman. Thou wouldst know us
were we as we were once.
Second Wag. Perhaps those flags will solve
the riddle.
First Wag. True enough; let us look at
them.
[The Countrymen remove flags and hand them
to WagSy who look at them intently.]
Second Wag {mysteriously) . Can it be ?
First Wag. It is ! It is !
First Countryman. Eh ?
118 THE TWO COUNTRYMEN
Second Countryman. Eh ?
Second Wag (to Countrymen). Your pardon!
I do crave your pardon !
First Wag (taking a ring from his fingers-
turning to Second Countryman). Please to accept
this ring. I shall then know I am forgiven for
not recognizing you at first.
Second Countryman (accepting ring ; putting
it on the first finger of his right hand). Why, yes,
I forgive thee.
Second Wag (to First Countryman, taking off
his gold chain) . Please to accept this chain. By
that I shall know I too am forgiven.
First Countryman (accepting chain; putting
it on). Thou art forgiven. Now tell me what
great person I have become.
Second Wag (gravely). Jest with us no
more!
First Wag. We go now to announce your
arrival to the Lord Mayor.
Second Wag. Presently, we will return.
Await us here.
[They go, laughing aside. "l
First Countryman. Dost thou know, I have
THE TWO COUNTRYMEN 119
always felt that I was really a great person. Hast
thou not always noticed something unusual about
me?
Second Countryman. I cannot say that I
have. There is, however, certainly something
wonderful about me. I have noticed it for a long
time. Hast thou not felt it when in my com-
pany?
First Countryman. I have not.
Second Countryman (indignantly). Thou
hast not ?
First Countryman. Never ! thou silly
goose !
[The Second Countryman snatches First Coun-
tryman's chain and throws it over the wall.]
Second Countryman. Mind how thou callest
me names, thou booby !
First Countryman (tearing ojf Second Coun-
tryman's ring and throwing it over the wall).
Silly goose !
Second Countryman. I will now depart for
my home. I do not desire thy company.
First Countryman. I likewise will return,
and likewise I wish to journey alone.
120 THE TWO COUNTRYMEN
[They take up their blankets and discover the
gourds.]
First Countryman. Eh ?
Second Countryman. Eh?
First Countryman. Let us tie them around
our ankles. We may then discover whether we
are ourselves.
[They tie the gourds around their ankles.]
Second Countryman (joyfully). I am myself!
First Countryman (joyfully). And I am my-
self!
Second Countryman. Come, let us journey
back together.
[They go out. Pause. Enter the Wags. They
remain at entrancey not knovnng Countrymen have
gone.]
First Wag (whispering). Do you think the
musicians should follow them ?
Second Wag (whispering). No, they should
follow the music. What a joke it is !
[They look around and discover that the Coun-
trymen have gone.]
First Wag (sadly). My ring!
Second Wag (sadly). My chain!
THE MAN AND THE ALLIGATOR
SCENE I
Time: the morning after the cyclone.
Place : The Man's garden.
The Man.
The ALMGAToa
[The Man enters the garden carrying his big
stick and small net. The garden has been almost
destroyed by the Alligator, who still wallows
among the beds.'\
Man. There should be enough apples on the
ground to fill my net. 'T was a fierce storm last
night !
{He looks about; sees the Alligator; shows in-
dignation.)
Thou — within my garden !
Alligator {meekly). Be not angry with me, O
master ! By accident I —
Man {indignantly). Accident! Thou hast wal-
lowed among my flowers by accident, hast thou ?
122 THE MAN AND THE ALLIGATOR
Alligator. It is true; not of my own wUl
came I hither.
Man (more indignantly). Thou hast broken
my fruit trees by accident, I suppose !
Alligator (nodding). It was not of my own
intentions, I assure you. I —
Man (interrupting). Thou art this moment
crushing my strawberry plants beneath thy great
body ! I Ve a mind to beat thee with my big
stick !
Alligator. Do not beat me, O master ! The
cyclone is at fault.
Man (surprised). The cyclone?
Alligator (nodding). Aye, it blew me here
from the river last night.
Man. Ha, ha ! A likely story !
Alligator. I speak the truth. A great water-
spout lifted me out of the river. Then a fierce
wind caught me and blew me about as if I were a
feather. Finally, I was dropped here within thy
garden.
Man (only half convinced). Well, there's no
cyclone to blow thee back. Wilt thou be good
enough to walk thyself out ?
THE MAN AND THE ALUGATOR 1«8
Alligator. Alas ! I can scarcely move me. I
fear some of my ribs are broken.
Man. Nonsense ! Out with thee !
Alligator. But see how the wind has crip-
pled me! It has even blown some of my claws
loose —
Man (interrupting). I am sorry for thee, but
thou canst not remain here.
Alligator. I will go now, if thou wilt help
me.
Man (surprised). I help thee?
Alligator (nodding). I will be so grateful to
thee!
Man. Oh, I know how grateful thou canst be !
The other animals have told me that !
Alligator. What say they ?
Man. That thou art the most cruel of all the
animals — that thou never dost any one a favor —
Alligator (interrupting). Nonsense! No
one could be more grateful for favors than I!
I'll prove it to thee!
Man. Prove it ? How ?
Alligator. If thou wilt help me to the river,
I'll show thee where to find the biggest fish.
1«4 THE MAN AND THE ALLIGATOR
Man. Well — that's something —
Alligator. And when thou wouldst cross the
river, I'll carry thee.
Man. Of a surety, that's good of thee! Per-
haps, after all, thou art not so black as thou art
painted. I'll help thee this time.
Alligator. Thanks to thee, master. I will
never forget thy kindness; I will always be thy
friend.
Man. Why, I am glad to help thee. Now how
am I to get thee to the river ?
Alligator. Carry me, please, O master!
Man. What ! carry thee ?
Alligator (nodding). I'll get into thy net.
Man. Thou get into my small net !
Alligator. Only hold thy net open!
Man (holding his net open). I tell thee, thou
canst never get in !
Alligator. See how I fold my arms! My
legs go under — so ! Now I roll myself up and
up and up ! And now I am in — all in !
Man. Well, seeing is believing!
Alligator. Pleage to tie up thy net, master,
that I may not fall out.
THE MAN AND THE ALUGATOR 12ft
Man (tying net). *Tis done!
{Throwing net over shatdder.)
Thou art heavy!
Alligator. I know, it will be hard work for
thee, but some day thou wilt see how grateful I
am.
[The Man goeSy carrying the Alligator over his
shoulder and his big stick in his hand.]
SCENE n
Time: the afternoon of the same day.
Place: the river bank.
The Man.
The Alligator.
The Wolf.
The Leopard.
The Rabbit.
[Enter the Man carrying the Alligator over
his shoulder. He stops, throws down his big
stick and places the Alligator carefully on the
bank.]
Man. Our journey is ended, brother.
{Untying net.)
126 THE MAN AND THE ALLIGATOR
Now then, roll thyself out !
(The Alligator comes out of the net.)
Well, how dost thou feel now ?
Alligator. Much better, thanks to thee ; but
I'm very hungry and I find I'm still quite weak.
I pray thee help me down the bank, O master!
Man (helping the Alligator down the hank).
Now, then, thou art close to the water.
[He turns to go.'\
Alligator. Just a little farther, please. I am
still so weak!
Man. Then I'll help thee into the water.
{He helps the Alligator into the water.)
Now thou art in; and now I will depart.
[He turns to go.'\
Alligator {seizing the Man's leg). Not yet!
Man. Let go of my leg!
Alligator. Why?
Man {indignantly). Why! Why!
Alligator {nodding) . Why and wherefore ?
Man. Thou art hurting me!
Alligator. It will soon be over.
Man. What dost thou mean ?
Alligator. What I have just spoken.
THE MAN AND THE ALUGATOR 127
Man. Why dost thou look at me so ?
Alligator (slowly). Because — I — mean —
to — eat — thee.
Man. Eat me!
Alligator (nodding). Eat thee.
Man. Me?
Alligator (nodding). Thee.
Man. Thou didst promise to be my friend.
Alligator. I was only fooling thee.
Man. But I helped thee out of trouble.
Alligator. No matter — I mean to eat thee.
Man. Is that the way to repay a favor — by
doing a wrong ?
Alligator (nodding). That's the way of all
the animals.
Man. Thou art surely mistaken — not all the
animals —
Alligator (interrupting). There's not one
of them remembers a favor or a friend when
hungry.
Man. I cannot think that! Suppose we ask
the first animal that comes to drink ?
Alligator. Ask any of them — I know what
they will say.
1«8 THE MAN AND THE ALLIGATOR
[Enter the Wolf. He comes dovm the bank to
drink.]
Man. Wolf, I would question thee.
Wolf (gruffly). Well?
Man. How dost thou repay the one who doth
thee a favor ?
Wolf (gruffly , as before). By doing him a
wrong.
[The Wolf drinks and goes.]
Alligator. Ha, ha, ha! Just what I said!
Now I shall eat thee forthwith !
Man. I can't believe that every animal would
so answer.
Alligator. I don't intend waiting for thee to
find out.
Man. I pray thee wait till the next animal
comes to drink!
Alligator (impatiently). Have I not told
thee of my hunger ?
Man. Listen! Some animal comes through
the forest now.
[Enter the Leopard. He comes down to drink.]
Leopard, I would question thee.
Leopard (curtly). Well?
THE MAN AND THE ALLIGATOR 1«9
Man. How dost thou repay the one who doth
thee a favor ?
Leopard {curtly ^ as before). By doing him a
wrong.
[He drinks and goes.]
Alligator. Ha, ha, ha! It is just as I
said ! I will now eat thee forthwith !
Man. I pray thee —
Alligator (interrupting). It is now all over
with thee !
Man (calling). Help! help!
[Enter the Rabbit.]
Rabbit. A word with thee, Ally dear !
Alligator. I shall be busy for a few minutes,
Brother Rabbit.
Rabbit (going down bank quickly). Who is
this thou art about to dine upon ? Why, 't is the
Man!
Man. How dost thou repay a favor. Brother
Rabbit ?
Rabbit. Why dost thou ask ?
Man. I found the Alligator in my garden this
morning. He had destroyed my plants, my fruits,
and —
130 THE MAN AND THE ALLIGATOR
Alligator (interrupting). I was blown in by
the cyclone last night.
Man. He said he had been hurt and begged
me to help him to the river. He promised me his
friendship if I would do so.
Alligator. Ha, ha, ha ! I told him I 'd show
him where to find the biggest fish.
Rabbit. And now thou wilt not ?
Alligator. But I will. He'll find it after he
is inside of me. Ha, ha !
Rabbit. Ha, ha ! A good joke !
Alligator. I told him I'd carry him across
the river. I did n't explain he'd go inside. Ha,
ha!
Rabbit. What a joker thou art. Ally dear!
(He turns to the Man.)
But how didst thou get him here ?
Man. I carried him in this small net.
Rabbit (looking surprised). Thou art trying
to fool me !
Man. No, Brother Rabbit, it is quite true.
Alligator (nodding). Yes, it is true.
Rabbit. But, Ally, try as thou mightst, thou
couldst not so much as get thy head into that net.
'HELP! HELP!'
132 THE MAN AND THE ALLIGATOR
Alligator. But I tell thee I did !
Rabbit. Ha, ha, ha! That's too funny!
Alligator (angrily). I do not like thy man-
ners, young man.
Rabbit. But it 's such a joke ! Ho, ho, ho !
Alligator. Cease thy laughing or I shall eat
thee some day!
Rabbit. I laugh because I must laugh ! Ha,
ha, ho, ho!
Alligator. Thou wilt not believe it, eh ?
Rabbit. Well, not unless I see it.
Man. We can prove it to thee. Brother Rabbit.
Rabbit. Oh, that's good too! Ha, ha, ho!
Alligator. Dost thou think we cannot ?
Rabbit. Of course thou canst not! If thou
couldst, thou wouldst.
Alligator. And we will ! Get thy net ready,
Man.
Man. But how ? Thou art holding my leg.
Alligator (freeing the Man ; turning to the
Rabbit). We'll show thee just how it was done,
young man.
Rabbit. Seeing is believing.
[The Man brings his net ; opens it.]
THE MAN AND THE ALLIGATOR 138
Alligator. See ! I put my legs under — so !
Then I fold my arms — so ! Now I roll myself
up and up and up. And now I am in — all in !
Rabbit. As I live — thou art ! Well, seeing is
believing. But how couldst thou remain within
the net ? It is quite open.
Alligator. Tie it up, Man. Show him exactly
how we did it.
Man {tying net). I tied it tight — like this.
Brother Rabbit.
Rabbit. Is it quite tight ?
Alligator. Let him try the knot, Man.
Rabbit (trying knot). Most truly, it is tight.
{Turning to the Alligator.)
Thou dost look as if thou couldst not move.
Ally dear.
Alligator. Of a surety — I cannot.
Rabbit. Well, Brother Man, now that thou
hast him, don't be foolish enough to let him go.
Get thy big stick and beat him to death.
Alligator {surprised). Eh?
Man {not heeding the Alligator) . That is just
what I will do, that I will ! Thanks to thee for
helping me. Brother Rabbit.
184 THE MAN AND THE ALLIGATOR
Alligator. Have pity!
Rabbit (not heeding the Alligator). No thanks
are necessary, Brother Man. I have n't forgotten
the good turnips thou didst give me last winter
when the ground was covered with snow. Some
of us know how to return favor for favor.
THE SONG IN THE HEART
SCENE I
Time : once upon a time.
Place : in the house of the poor Spinner.
The Dame.
Isabel, her daughter.
Flat-foot
Hanging-lip
Broad-thumb
The Queen.
► the Three Great-Aunts.
[The living-room in the Darnels cottage is seen.
The Dame and the three Great-Aunts are
spinning. Isabel sits at her spinning-wheel^ but
has stopped work and looks out of the open door.]
Dame (sharply). Isabel! You gaze without!
Isabel (nodding). Upon those great trees,
mother. How beautiful they are ! How like sen-
tinels they stand at our door guarding us !
Flat-foot (growling) . What nonsense ! You 'd
better be spinning.
136 THE SONG IN THE HEART
Isabel (not heeding). Mother, see you that
old oak ! See how proudly it lifts its head up into
the sky ! 'T is the king of the forest !
Hanging-lip (growling). I never heard such
foolish talk!
Isabel (not heeding). Mother, a song has
come to me, — 't is a song to the beautiful trees.
Let me stop to write it down, while my heart is
full of it.
Broad-thumb (to the Dame). Do not per-
mit it, sister ! She should be working. She can
scarcely spin at all.
Dame (showing much feeling). Isabel ! Isabel !
Not a maid in the village thinks of anything but
spinning.
Isabel. Mother, let me stop ! Soon the song
will leave me. I may ne'er hear it again.
Flat-foot (to the Dame) . Sister, she will bring
you to shame.
Hanging-lip. Already the village folk laugh
at her!
Broad-thumb (nodding). Aye! They call
her "the Dreamer." I myself have heard them.
Isabel. I care not what they call me !
THE SONG IN THE HEART 137
Dame (raising her voice). Nay, but I care.
I'll not have you diflferent from other folk.
Hanging-lip. We were never seen gazing
upon trees !
Broad-thumb (nodding). Aye! We never
heard songs within test
Flat-foot (nodding). Aye! We think only
of our work !
Isabel. What's your work may not be mine!
Dame (decidedly). There's no other work for
a maid than spinning.
Isabel (sighing). I like it not ! Though every
other maid in all the world did love to spin, I'd
say the same — I like it not !
Dame (to Flat-foot; showing alarm). Sister,
close the door, that none without may hear such
words.
[Flat'foot risesy but is too late. The Queen
enters from the street.]
Queen (showing dis'pleasure) . How now!
What's all this noise ? I heard it from the street !
[All are frightened ; Isabel weeps.]
Dame (bowing). 'Twill not happen again,
your Majesty.
1S8 THE SONG IN THE HEART
Queen (looking at Isabel). Have they beaten
you, my child ?
Isabel (still sobbing) . N — o — , your Majesty.
Queen (to the Dame). Tell me why your
daughter weeps.
Dame (more frightened). She weeps because
— because —
[She stops in confitsion.]
Queen. Well — well?
Dame. Because — because — I will not let
her spin.
Queen (showing surprise). Because you will
not let her spin ?
Dame (nodding). Yes, your Majesty.
Queen. Why, this is most strange.
Dame (nodding). Would I but let her, she'd
spin from morn till night, and from then on till
morn again.
Queen. I see how it can be so. There's no-
thing I like better than spinning.
Dame. She weeps whenever I make her leave
oflF.
Queen. 'T is because she loves it ! I am never
more pleased than when the wheels are whirring.
THE SONG IN THE HEART 139
Dame. But stop she must, for to-day at least.
There is no more flax.
Queen. I have rooms full of flax. Let your
daughter come to my castle. She may spin there
as much as she pleases.
Dame (noWy most frightened). I — I fear she
would be a trouble to you.
Queen. Why, no ! In fact, I am so pleased
with your daughter's industry I will have my son
marry her.
Dame {so frightened she can scarcely breathe).
O your Majesty —
Queen (interrupting) . But first she must spin
all my flax. There are three rooms full of it —
from top to bottom.
Isabel (showing alarm) . Three rooms full !
Queen (nodding). Aye, my dear, and when
you have spun it all, you shall become a princess !
(Turning to the Dame.)
Bring your daughter to my castle to-morrow.
Dame {bowing). Yes, your Majesty.
Queen (going). To-morrow, mind you.
Dame {bowing). Yes, your Majesty.
[All bow to the Queen^ who goes.'\
140 THE SONG IN THE HEART
Isabel. Mother, how could you tell the Queen
I love to spin ?
Dame. Think you I'd let the truth be known ?
I'd not shame myself so!
Isabel. I could not spin three rooms of flax
in three hundred years.
Dame. Alas! alas! What shall we do ?
Flat-foot (to Hanging-lip and Broad-thumh) .
Sisters, let us speak together.
[The three Great-Aunts whisper together for a
moment]
Hanging-lip. Isabel, we will help you —
Flat-foot (interrupting). On one condition!
Broad-thumb (nodding). Aye, — on a cer-
tain condition !
Isabel. What do you mean ?
Hanging-lip. We'll spin the flax for you —
Flat-foot (interrupting). On one condition.
Broad-thumb (nodding). Aye, — on a cer-
tain condition !
Dame. You speak in riddles, sisters.
Hanging-lip. 'T is this — if Isabel will in-
vite us to her wedding, we'll spin the flax.
Flat-foot. That's the condition.
THE SONG IN THE HEART 141
Broad-thumb (nodding). Aye, — that's the
certain condition.
Isabel. 'T will be deceiving the Queen and
the Prince, both.
Dame. There 's no other way to mend things.
Go now! Since you are so soon to be a prin-
cess, I '11 give you leave to write down your
song.
Isabel (sadly). The song is no longer in my
heart.
Dame. 'T is well. Now listen — you must
never let the Prince know about your songs. He 'd
send you from the castle.
Broad-thumb (nodding) . Besides, 't would
bring great shame upon us, for we are a family
of spinners.
Flat-foot (nodding). Aye, aye!
Hanging-lip (nodding). Aye, aye!
142 THE SONG IN THE HEART
SCENE II
Time : one week later.
Place : tfie Qiceen's castle.
The Queen.
The Prince.
Isabel.
The Three Great-Aunts.
[The THREE Great- Aunts are working at the
last heap of flax in the third room. Isabel
watches them anxiously.]
Isabel. Think you to finish before the Queen
comes ?
Flat-foot (nodding as she treads the wheel).
Aye, if treading the wheel will do it !
Hanging-lip {nodding^ a^ she moistens the
thread over her lip). Aye, if moistening the
thread will do it!
Broad-thumb (nodding^ a^ she presses the
thread with her thumb). Aye, if pressing the
thread will do it!
Isabel. 'T is to-day she brings the Prince.
Flat-foot. Another minute and we'll have
finished.
THE SONG IN THE HEART 143
Isabel. Should they come suddenly, you
know where to hide — behind those curtains
there.
Three Great- Aunts (nodding). Aye, we
know!
[A noise is heard in the distance.]
Isabel. Some one comes!
(She runs to the door^ opens it, and looks out.)
The Prince comes down the stairs! Quick,
aunts, quick!
Flat-foot (rmngr). Well, 't is finished !
Isabel (looking into hall). Now comes the
Queen ! To the curtains, quick !
[The three Great-Aunts hide behind the curtains ^
just as the Queen and the Prince enter.]
Queen. Well, have you finished ?
Isabel (^pointing to a pile of thread). There's
the last of it, your Majesty.
Queen (looking at thread). Spun in the finest
style, too! Prince, but a week ago these rooms
were filled with flax. Now look at them.
Prince (looking about). Empty, as if flax had
never been here. 'T is wonderful how one maid
could do so much!
144 THE SONG IN THE HEART
Queen. 'T is most wonderful !
Prince. The wedding shall take place to-day.
Isabel, come now with us.
IqabiiIj (thoughtfully). No, no! I cannot!
Prince. You cannot ?
Queen. You cannot! What do you mean ?
Isabel (to the Queen). Let me go home, your
Majesty !
Queen. Go home!
Isabel. I am not worthy —
Prince (interrupting). Nonsense! That you
are poor is nothing to me.
Queen (going) . Come, the wedding bells shall
ring at once !
Isabel. Your Majesty — I — I — did not
spin the flax.
Queen. What ! You did not spin the flax ?
Prince. What is this ?
Isabel. I deceived you — I can scarcely spin
at all.
Queen. But this pile of thread here —
Isabel. 'T was spun by another.
Prince. Another?
Isabel. Yes, Prince.
THE SONG IN THE HEART 145
Queen. You shall marry that one then, my
son!
{To Isabel.)
As for you, return to your hovel !
{Isabel turns to go.)
Stay!
{Isabel stops.)
Who is the wonderful spinner ? Tell us where
to find her.
Isabel. Here, your Majesty.
Queen. Hidden away, I suppose ?
Isabel {nodding). Yes, your Highness, be-
hind those curtains.
Queen. Go, my son, and draw the curtains.
You shall be the first to look upon your bride.
[The Prince draws the curtains and sees the
three Great-Aunts^ who sit in a row. They smile
and smile upon the Prince, who stands looking
at them in astonishment^
Flat-foot. You'd never be sorry to take me
for your bride, my lord.
Prince {not heeding). Why is your foot so
flat?
Flat-foot. From treading the wheel ! From
treading the wheel !
146 THE SONG IN THE HEART
Hanging-lip. You'd never be sorry to take
me for your bride, my lord.
Prince (not heeding) . Why is your lip so long ?
Hanging-lip. From moistening the thread!
From moistening the thread !
Broad-thumb. You'd never be sorry to take
me for your bride, my lord.
Prince (not heeding). Why is your thumb so
broad ?
Broad-thumb. From pressing the thread!
From pressing the thread !
[The Prince turns to Isabel.]
Flat-foot (quickly). Isabel does naught but
gaze and gaze, on flowers and trees and running
brooks. Ha, ha, ha!
Prince. Is this true, Isabel ?
Isabel (timidly). Yes, Prince.
Hanging-lip. She says these flowers and trees
and running brooks do sing her songs. Ha, ha,
ha!
Prince. Is this true, Isabel ?
Isabel (as before). Yes, Prince.
Broad-thumb. And she begs leave to write
down these songs. Ha, ha, ha!
THE PRINCE SEES THE THREE GREAT-AUNTS
148 THE SONG IN THE HEART
Prince. Is this true, Isabel ?
Isabel (hanging head). Yes, Prince.
Prince. Isabel, hang not your head. I'll give
you time to write your songs.
Queen. My son —
Prince {interrupting). Nay, nay, mother!
The songs please me better than the flat-foot and
the hanging-lip and the broad-thumb of the
spinners. Come, Isabel, you shall be my princess !
You shall sing me your songs ! You shall teach
me how to gaze upon flowers and trees and run-
ning brooks, for these things have ever been dear
to my heart. Come, Isabel, come!
THE EMPEROR'S TEST
SCENE I
Time : one spring ; noon.
Place: an army camp on the hanks of a large creek. A
viUage is near by. To the south is a greaJt forest.
The Emperor.
The General.
The Captain.
First Aide.
Second Aide.
The Mayor's Wife and Son.
The Rich Merchant's Wife and Son.
The Poor Woodcutter's Wife and her Son, Pierre.
[An ante-room in the Emperor's tent is seen.
Great curtains separate this room from the Em-
peror's room back. An Aide waits in the ante-
room. Enter the General from the Emperor's
room.]
General {to the Aide). Have any yet come
from the village ? The Emperor would know.
Aide. Yes, General. They wait without.
150 THE EMPEROR'S TEST
General. Bid them enter.
Aide (crossing ; speaking to those without).
You will please enter.
[Enter the Mayor's Wife and Son ; the Rich
Merchant's Wife and Son.]
General. You have come to see the Em-
peror?
The Ladies. General, we have.
General. His Majesty wishes you to leave
your sons here in camp until evening.
Mayor's Wife. General, could you not tell
us the Emperor's plans ?
General. Yes, madam. The Emperor must
march southward where the enemy is in camp.
He wishes a guide who can lead him safely
through this great forest.
Rich Merchant's Wife. We were told the
Emperor would greatly honor the lad he chooses.
General. 'T is true, madam. The lad
chosen will be made an aide.
Mayor's Wife. I thought only princes were
chosen for the Emperor's aides.
General. They have always been princes.
This is a great opportunity for the lads of this
village.
THE EMPEROR'S TEST 151
Mayor's Wipe. But how will the Emperor
make a choice ?
General. A test will be given every boy
who comes. This test will prove his fitness to be
guide.
[Enter an Aide from Emperor^s room.]
Aide. General, the Emperor would see you.
[The General bows to the ladies and leaves.]
Aide (turning to the ladies). The Emperor
will receive you presently.
[Aide goes. Enter the Poor Woodcutter's
Wife and Son.]
Poor Woodcutter's Wife (timidly). I heard
the Emperor wanted a guide.
Mayor's Wife. The Emperor only wants the
boys of the best families, madam.
[Enter the Emperor, General, and Captain;
they remain back ; are not seen by the ladies.]
Poor Woodcutter's Wife (sighing). I sup-
pose that is true, but Pierre is a smart boy. If
the Emperor could only see him —
Rich Merchant's Wife (interrupting). The
Emperor wants a boy with proud manners such
as our boys have.
15% THE EMPEROR'S TEST
Emperor (indignantly). Fiddlesticks!
The Ladies (bowing). Your Highness!
Emperor. Fiddlesticks and candles, I say !
Poor Woodcutter's Wipe. I am sorry, your
Majesty. I didn't know how it was. Come,
Pierre.
[She turns to go.]
Emperor. Remain. Pierre shall have the test
with the others. Ladies, you shall know whom
I have chosen when the test is finished. I bid
you good-day.
[The ladies bow and go.]
Emperor (turning to the boys). My lads, go
through the forest southward, till you come to
the river. You may then return. Captain, see
that guards go with them. My lads, you must
not speak the one to the other until I have again
seen you. I must have your word on that. Do
you promise ?
Boys. Sire, we promise.
Emperor. 'T is well. Captain, they are now
in your charge. General, a word with you.
[The Emperor and General go into Emperor's
room. The Captain leads the boys from the tent.]
THE EMPEROR'S TEST US
SCENE n
Time: two hours later.
Place: the Emperor* s tent; the Emperor's ro&m.
The Emperor.
First Aide.
Second Aide.
LUDWIG.
[The Emperor is seen sitting at a table looking
at maps. Enter an Aide. He salutes.]
Emperor. Well?
Aide. The prisoner has returned, sire.
Emperor. What prisoner ?
Aide. The one sent out for the test, sire.
Emperor. Who was sent ?
Aide. Ludwig, the prisoner who has been ill
for so long.
Emperor. Ah, yes ; bid him enter.
(Aide goes; he reenters with Ludwig, who
wears an old, torn army cloak over his uniform.
He salutes.)
I notice you are a bit lame, Ludwig.
Ludwig. Yes, sire; in my left leg. My dog
was hit at the same time.
154 THE EMPEROR'S TEST
Emperor. Does your dog go to battle with
you?
LuDWiG. If he can slip into the ranks, sire.
He always goes where I go, sire.
Emperor. Then he went with you to-day, of
course ?-
LuDWiG. Yes, sire.
Emperor. You are sure the boys did n't see
you?
LuDWiG. No one saw me. I kept a sharp look-
out. When I came to a clear space I went to one
side, hiding behind trees, to look ahead. Then I
ran across.
Emperor. That must have tired you, Ludwig.
You're not quite well yet.
Ludwig. I found I could n't leap the streams ;
I had to climb down the banks and wade them.
Emperor. You rested by the way, did n't
you?
Ludwig. Yes, sire, and once I stopped to pick
berries.
Emperor. You made the return trip by boat
up the creek ?
Ludwig. Yes, sire.
THE EMPEROR'S TEST 155
Emperor. That is all.
[The Aide and Ludwig go. The Emperor claps
his hands. Enter Second Aide. He salutes.]
Emperor (to Aide). Have the lads returned?
Aide. No, sire.
Emperor. Do you know when the Captain
expects them ?
Aide. In about half an hour, sire.
Emperor. Bid their mothers return at that
time. I wish them to be present at the test.
Aide. Yes, sire.
[He salutes and goes.]
Emperor (slowly) . Let me see — a lame man ;
a lame dog; running footprints across open
spaces ; wading streams instead of leaping them ;
stopping to pick berries — Why, the story reads
itself!
(He sits at table; takes up maps.)
Well, we shall see what we shall see!
156 THE EMPEROR'S TEST
SCENE m
Time: a half hour later.
Place: the Emperor* s tent; the anie-room.
The EifPEROB.
The General.
The Captain.
An Aide.
The Mayor's Wife and Son.
The Rich Merchant's Wi;fe and Son.
The Poor Woodcutter's Wife and Son, Pierre.
[ The Ladies wait in the lower end of ante-room.
Bach is a great armchair.]
Mayor's Wife. I cannot think why the boys
were sent into the forest !
Rich Merchant's Wife. Nor I ! It seems to
me the Emperor should have asked them what
they could do. Now, my boy dances so prettily !
Mayor's Wife. I was certain he would ask
them to ride. Now, my boy rides so well — just
like a prince!
Rich Merchant's Wife. Well, he will no
doubt ask them all these things upon their return.
THE EMPEROR'S TEST 157
{She turns to Pierre^s mother.)
You see, madam, how little chance your boy
has. I am sure he cannot dance ?
Poor Woodcutter's Wipe (sadly). No,
madam.
Mayor's Wife. I am certain he does not ride ?
Poor Woodcutter's Wipe (sighing). No,
madam.
[Enter an Aide; crosses to Emperor^ s room;
announces at curtains.]
Aide. The boys have returned, sire!
[Enter the Captain vrith the Boys. Enter the
General from Emperor^s room.]
General (announcing) . The Emperor !
[Enter the Emperor ; all bow.]
Emperor (sitting in armchair). I will now
give the test. Captain, bring up the first boy.
[The Captain brings up the Rich Merchant's
Son.]
Emperor. Well, my lad, what did you see in
the forest ?
Rich Merchant's Son. Many, many trees,
sire.
Emperor. You saw nothing but trees ?
158 THE EMPEROR'S TEST
Rich Merchant's Son. That was all, sire —
just trees.
Emperor. I shall not want you ; you may go.
Rich Merchant's Wife. Oh, your Majesty,
if you could only see him dance !
Emperor. Candles and cheese! Do I want
a dancing guide? Captain, bring up the next
one.
[The Captain brings up the Mayor's Son.]
Emperor. Well, my lad, what did you see in
the forest ?
Mayor's Son. I saw trees and bushes, sire.
Emperor. Nothing more?
Mayor's Son. No, sire.
Emperor. I shall not want yout ; you may go.
Mayor's Wife. Oh, your Majesty, if you
could only see him ride ! Just like a prince, sire !
Emperor. Fiddlesticks ! Captain, the last boy
there.
[The Captain brings up Pierre].
Emperor. Well, my lad, what did you see in
the forest ?
Pierre. I saw that a man had passed south-
ward just before us, sire.
THE EMPEROR'S TEST 159
Emperor. How did you know that ? Did you
see him?
Pierre. No, sire, I saw his footprints. He was
lame in the left leg.
Emperor. How did you learn that ?
Pierre. The footprints were deeper on the
right side. His dog was lame also.
Emperor. He had a dog ?
Pierre. Yes, sire; a lame dog I'm sure, be-
cause one of his tracks was always faint or miss-
ing.
Emperor. Did you trace this man and dog
by their footprints ?
Pierre. Yes, sire, to the river. There were
traces of them in the grass, in the mud, in the
dust, on rocks, and in still water. I am certain
they had passed but a short time before — not
more than a half hour.
Emperor. How could you tell that ?
Pierre. The grass had not yet straightened
up. The tracks in the mud had not yet filled
with water. The prints in the dust were still clear
although a wind was blowing.
Emperor. Good! But how did you know they
160 THE EMPEROR'S TEST
had but just passed through still water and over
rocks?
Pierre. The water had not yet settled, and
the rocks were still damp.
Emperor. Good! Very good!
Pierre. Sire, I fear this man is one of the
enemy !
Emperor. Indeed ! What proof have you of
that?
Pierre. This, sire.
(Handing a small piece of cloth to Emperor.)
'T is the color of the enemy's uniform.
Emperor. It is, my lad. How came you by it ?
Pierre. I found it on a thorn-bush. It was
torn from his cloak, sire.
Emperor. And why from his cloak?
Pierre. The thorn-bush was at least three feet
from the man's line of travel. The wind blew the
cloak about.
Emperor (handing the cloth to an aide; whis-
pering to him). Take this to Ludwig.
(The Aide goes.)
Well, Pierre, do you think we should be in fear
of this enemy ?
THE EMPEROR'S TEST 161
Pierre. I do not know, sire. I only know that
he has a good disposition.
Emperor (surprised). A good disposition?
How do you know that ?
Pierre. The dog was always near him. When
the man stopped to rest, the dog lay down at his
feet.
Emperor. But he may have held the dog there,
my lad.
Pierre. Not while he was picking berries,
sire.
Emperor. So our enemy picked berries, did
he?
Pierre. Yes, sire, the dog lying by the bushes
all the while.
Emperor. Do you think we could capture this
man?
Pierre. Yes, sire, for he was very tired.
Emperor. How do you know that ?
PiERitE. He climbed down the banks of every
small stream. I should have leaped them.
Emperor. You think it would be an easy
matter, then, to follow and capture him ?
Pierre. Not easy, sire, for he was always on
the lookout.
16« THE EMPEROR'S TEST
Emperor. How do you know that ?
Pierre. Whenever he reached a clear space,
he went to one side, hiding behind trees to look
ahead. Then he ran across the open.
Emperor. Your proof of this, my lad ?
Pierre. His footprints in every clear space
showed only the balls of the feet.
Emperor. Good ! You followed him only to
the river.
Pierre. Those were the orders, sire. Had I
gone on, I could have overtaken him by evening.
Emperor. That you could not, my lad, for the
man is now here, in camp. He returned by boat.
Ladies, the test is over.
(He turns to Pierre's mother.)
Madam, your son shall be my guide. I am
proud to have a boy of such keen sight and quick
thought in my kingdom. And 't is much to be the
mother of such a lad. I salute you, madam!
With greatest respect I salute you !
[He hows to the happy woman with great
courtesy.]
Emperor (turning to the ladies) . Ladies, I bid
you farewell.
CHRISTOPHER COLUMBUS
SCENE I
Tibie: (me morning; 1484.
Place : a street in front of King John^s paldcey Lisbon^
Portugal. Gates to courtyard of palace in background.
Christopher Columbus. King John.
Schoolmaster. Courtiers.
Carlos. Jester.
roque.* rlverra,! a sea-captain.
PANCHo.f Porter.
Boys, Hostlers, Servants.
[Enter Carlos, Roque and Pancho. They
carry their school-books. A noise is heard in court-
yard.]
Roque (stopping; listening). There's stirring
in the King's courtyard !
[He runs to closed gates; peeps through a crack.]
Carlos. Come, Roque, we shall be late to
school.
• Pronounced Ro'ka. f Pronounced Pan'chO (ch as in church.)
X ProDOimced Re^ve/ra.
164 CHRISTOPHER COLUMBUS
RoQUE (throwing down books). Come, look!
They are laying the red carpets in the court !
Pancho (throwing down books; peeping) . 'T is
for the King they lay them !
Carlos. Come, the master will be angry.
RoQUE. But the King will soon be coming !
Pancho, Let's wait and see him, Carlos!
Carlos. Not I ! I know how the master flogs !
Yesterday I came late to school.
Pancho. Why were you late ?
Carlos. I stopped to watch the crazy Italian,
Columbus.
[He starts off; the others follow.]
RoQUE. I saw him once!
Pancho. I wish I might see him!
Carlos. There he comes now! (Calling.)
Loco!* Loco!
RoQUE. Aye, there he is! (Calling.) Loco!
Loco!
Pancho (calling). Loco! Loco!
[Enter Columbus, dignified and gentle. A
crowd of Boys follow.]
All Boys. Loco! Loco! Loco! Loco!
♦ Pronounced Zo'Aro ; Spanish for crazy.
CHRISTOPHER COLUMBUS 165
[Enter Schoolmaster, carrying a svritch.]
Master (flourishing switch). To school with
you! To school now!
[Boys run off in alarm.]
Master (turning angrily upon Columbus) . You
were teaching them your foolish notions, sir !
Columbus (smiling). I'd like the chance to
do so, master.
Master. Ah, then you have been at it ! I saw
them all about you !
Columbus. I taught them nothing, master, —
this time.
Master. 'T is well for you, sir, that you did
not. The world is flat, sir, flat! Do you not
know that, sir ?
Columbus. I was so taught —
Master. How do you dare, then, to say the
world is round ?
Columbus. Much study and common sense,
dear master, have made me dare.
Master. The lessons taught your fathers are
good enough for you, sir.
Columbus. That cannot be, dear master.
How, then, could the world move on ?
166 CHRISTOPHER COLUMBUS
Master. Move on ? Hear him talk ! Do you
think, sir, that an elephant carries this flat world
on his back and walks about with it ? Ha, ha !
[Gates are opened; Porter is seen.]
Master (going). Go tell the King this world
is round ! Ha, ha ! Go tell the King !
[Schoolrruister goes.]
Porter (seeing Columbus; a^ide). Ah, 'tis
the crazy Italian !
Columbus. Porter, I seek the King!
Porter. Do you think he'll listen to your silly
talk? O, I've heard of you! Away!
Columbus. Come, let me in!
Porter. Away ! Away with you, loco I
[Enter from gates, the Jester in cap and bells^
Hostlers and Servants.]
Jester. Who's away? Who's crazy?
Porter. The Italian there ! He who says this
world is round !
Jester. Round? How now? Round, say
you?
Porter (nodding; laughing). With people
on the other side !
Jester. A-standing on their heads — so !
CHRISTOPHER COLUMBUS 167
[Jester stands on his head; all laugh. Enter a
Courtier.]
Courtier. The King comes !
[Enter King John and many Courtiers.]
Jester (capering about Columbus). Ha, ha,
ha, ha!
King. What's this. Jester?
Jester. Here's he, sire, who says this world
is round!
[He capers about Columbus; all laugh.]
King. I've heard of your notions, Columbus.
So you think there's land to be discovered, do
you?
Columbus. Yes, your Majesty, I'm sure of it.
Jester. With people a-standing on their
heads — so !
[He stands on his head; all laugh.]
King. Silence! Columbus, I've a mind to
listen, and give you ships and money. Have you
maps and charts to prove your plans ?
Columbus (taking maps from cloak). Yes,
sire.
King. Wait, then, till I have spoken with my
Courtiers.
168 CHRISTOPHER COLUMBUS
[Columbus howSy retires^ and unrolls maps.
Captain Riverra crosses to Columbus; talks
with him aside.'\
King {speaking softly to Courtiers) . You know,
my Courtiers, that should there be new lands,
great glory will be given the discoverer of them.
First Courtier. Aye, sire, 'twill bring him
great honor.
Second Courtier. And riches.
King. 'T is I, and I alone, who should have
the honor and the riches !
First Courtier. Aye, sire!
Second Courtier. Aye, sire!
Third Courtier. But nothing can be done
without the Italian's maps and charts. No one
but he knows the route over the unknown seas.
King. Well, we must have his maps and
charts.
First Courtier. He'll not sell them, sire.
You may depend on that.
King. And we'll not buy them. Go, bid my
fool take them.
{Courtiers showing surprise.)
Go, I say, and see to it!
CHRISTOPHER COLUMBUS 169
[Courtiers talk aside with Jester.]
RiVERRA (to ColumbiLs). I wish you well, sir,
for I believe that what you say is true.
Columbus. I'm glad to hear you say that.
Captain.
RiVERRA. My ship is in the harbor now, and
I must go. But I wish you well, Columbus, I
wish you well.
[ColumlmSy throwing his maps on the stone
bench near gateSy takes Riverra^s hands in his.
The Jester creeps up^ takes mapSy runs into the
court with thevfiy and disappears.]
Columbus {with feeling). I thank you. Cap-
tain — so few believe in me —
King. Come now within, Columbus ; I'll look
at your maps and charts.
[Riverra goes.]
Columbus (turning to take up maps). Why,
how is this! My maps were here but just a
moment ago!
King. Who saw his maps ?
(Pause.)
The Courtiers are silent, sir.
Columbus. I laid them there, sire !
170 CHRISTOPHER COLUMBUS
King, Then there they should be.
Columbus. Some one has taken them — 't is
a joke —
King (interrupting). My Courtiers do not play
jokes in my presence.
Columbus. Those maps and charts are pre-
cious to me, sire!
King. Come, now, I'm not so sure you ever
had maps or charts.
Columbus. Your Majesty!
King. Well, produce them.
Columbus. But, sire, —
King (interrupting). I'll not hear excuses!
Your maps, sir, — at once, sir !
Columbus. I '11 make other maps and charts —
King. Away with you !
Columbus. Your Majesty —
King. Away, I say ! And come to us no more
with tales of unknown lands.
[Enter Jester from gates.]
Jester. With people a-walking on their
heads — so !
[Jester stands on his head; all laugh. Colum-
bus goesy showing bitter disappointment.]
CHRISTOPHER COLUMBUS 171
SCENE II
Time: 1492.
Place : Spain. Court of King Ferdinand and Queen
Isabella.
King Ferdinand. Captain Riverra.
Queen Isabella. Wise Men.
Christopher Columbus. Courtiers and Ladies.
A Monk, Father-Confessor to the Queen.
Messenger.
[Many Courtiers and Ladies are seen in
avdience-room of palace; a throne is in the back-
ground. Enter the First Courtier.]
First Courtier. The King and Queen !
[Enter King Ferdinand and Queen Isa-
bella, followed by Courtiers, Ladies and the
Wise Men. All bow as the King and Queen cross
to throne and sit. Enter the Monk ; he advances
to throne and bows.]
King. Speak, good Father.
Monk. I pray your Majesties to see one
Christopher Columbus.
King (inquiringly). Columbus?
172 CHRISTOPHER COLUMBUS
Monk. The Italian who thinks he can find
a short route to the Indies, sire.
King (nodding). Ah, I remember. You
brought his plans to us some time ago, good
Father.
Queen (nodding). Let us see him to-day,
sire.
King (to First Courtier) . Admit this Christo-
pher Columbus.
(Courtier admits Columbus. He kneels before
the King.)
Rise, Columbus, and tell us what you seek.
Columbus (rising). Ships, sire, to prove the
plans which I did send your Majesties; plans
for sailing in the unknown seas.
Queen. They seemed to me most wise and
sensible.
Columbus (with joy). Ah, your Majesty be-
lieves with me ?
King (hastily). I'd have our Wise Men
speak. Unfold your maps before them, sir.
[Columbus crosses to Wise Men and unfolds a
map before them. They look at it, shake their
heads and laugh.]
CHRISTOPHER COLUMBUS 178
Columbus (vrith dignity). I propose to sail by
this route to find that eastern land.
First Wise Man. Ha, ha! I never heard
anything so absurd ! He *d sail west to find the
east! Ha, ha!
Second Wise Man (pointing to map). The
edge of the world is out there in those strange
waters ! And you are willing to fall oflf with your
ships into space, sir ?
Columbus. I'm sure the water continues —
Third Wise Man (interrupting) . How could
there be land beyond ? *T would be under us,
and the trees would have to grow their roots in
the air.
[Wise Men nod wisely. '\
Second Wise Man. And the rain must needs
fall upward there !
All Wise Men (nodding wisely). Aye! Aye!
Queen. I've heard you did lay your plans
before King John of Portugal ?
Columbus. I did, your Majesty.
King. That was bad for you, Columbus.
King John sent ships, but they soon returned.
(Turning to Captain Riverra.)
174 CHRISTOPHER COLUMBUS
Was not that the way of it, Captain? You
sailed with them, I believe ?
RiVERRA. Yes, sire. But the failure came be-
cause the sailors were afraid and refused to go on.
(To Columbus.)
You were thus avenged for the theft of your
maps, sir.
Queen. Would you sail again with this man
as your leader. Captain ?
RiVERRA. I would, your Majesty! I believe
not in the monsters and the edge.
Queen. Nor I ! Let 's provide the ships, sire.
King. Our people would not like it — they'd
grumble. And so H would be bad for us.
[Enter Messenger in great haste; kneels be-
fore King and Queen.]
King. What news do you bring? Speak!
Messenger. The Turks have captured the
Spanish merchant ships!
King. Our ships bound for the Indies ?
Messenger. Yes, your Majesty.
King. Alas! Alas!
Queen. The merchants and the sailors —
did the Turks spare them ?
CHRISTOPHER COLUMBUS 175
Messenger. Not one, your Majesty!
Queen. Alas, such loss of life ! And H is not
the first time ! Not a month that does not bring
us the same sad news ! •
First Wise Man (to Monk). You must give
our people consolation, Father.
Monk. *Tis not so much consolation they
need, as another passage to the Indies ; one far
away from Turkey and the cruel Turks.
Queen. You are right. Father. Speak on.
Monk. To find such a passage is the chief
purpose of Christopher Columbus. That is the
hope that has given him courage when half the
world called him fool.
Queen. Sire, we must find ships and money !
King. We dare not tax the people more —
Queen. Then I'll help you, Columbus! I'll
pledge my own jewels to raise the funds.
Columbus (joyfully). Your Majesty!
Queen. 'T is for the safety of our merchants !
'T is for the glory of Spain !
Columbus (kneeling before Queen; kissing
her robe). My Queen!
176 CHRISTOPHER COLUMBUS
SCENE III
TiBfB: -five months later; evening.
Place : on board the Santa Maria.
Admiral Christopher Columbus.
Captain Pinzon.*
Sailors.
[The Sailors are seen sitting on deck in a
group. They are gloomy and dejected.]
First Sailor. *T is a sea of darkness !
Second Sailor. Last night I heard the angry
sea-gods !
Third Sailor (nodding). Aye, I heard them !
Fourth Sailor. What were they crying ?
Second Sailor. Angry words to us for com-
ing into their own waters.
First Sailor. 'Tis the Italian Columbus
the sea-gods should destroy!
All Sailors. Aye ! Aye !
Second Sailor. We'll never see Spain again !
Third Sailor. We should compel him to re-
turn!
All Sailors. Aye ! Aye !
♦ Pronounced Pin'thOn,
CHRISTOPHER COLUMBUS 177
[Enter Columbus vrith Captain Pinzon. They
cross to bow of ship. The Captain glances un-
ea^ly at the sailors.]
Captain. Admiral, I must tell you frankly,
the sailors are dissatisfied.
Columbus. I am sorry to hear that. Captain.
Captain. What shall we do, sir ?
Columbus. Do? Why, sail on!
Captain. I'll see to it, sir!
[Captain goes.]
First Sailor (crossing). Admiral, the men
have chosen me to speak for them.
Columbus. What do they wish ?
First Sailor. To return to Spain, sir !
Columbus. Tell them we may see land any
day now.
First Sailor (shaking head). They'll no
longer listen to that !
Columbus. Then tell them that I mean to
sail on.
First Sailor (starting). Sail on?
Columbus. Yes; to sail on and on. Go tell
them that.
[Sailor goes. Enter Captain.]
178 CHRISTOPHER COLUMBUS
Captain. Admiral, the sailors below show
signs of mutiny !
Columbus {alarmed). Mutiny?
Captain (nodding). The same as these on
deck. Only look at them !
[The Sailors talk together excitedly and gesticu-
late wildly.]
Columbus. Ah, if I could only give them my
courage !
Captain. I fear for your life, Admiral, if the
order is not given to return.
Columbus. I cannot give it. Captain.
[The Sailors on deck are joined by others from
below. They rush down upon Columbus.]
First Sailor (angrily). You must take us
back to Spain, sir !
Second Sailor. We'll not go farther, sir!
All Sailors. Aye ! Aye !
Columbus. I'm sure we will soon find land —
Sailors (interrupting; angrily). Hear him!
Hear him !
Columbus. To the one who first sees land, the
Queen has promised money —
First Sailor (interrupting). Money! to feed
to the sea-monster !
CHRISTOPHER COLUMBUS 179
Second Sailor (threateningly). Will you turn
back ?
Columbus (with determination) . No !
Captain. Now, men, back to your duties.
Third Sailor. Alas! we'll never see our
homes again !
Fourth Sailor. Nor our friends !
First Sailor. We are lost, men !
Second Sailor. What shall we do ?
All Sailors. What shall we do ? What shall
we do ?
[As their anger turns to despair^ Columbus is
tovx:hed.]
Columbus. Listen, men, — I make you this
promise : if we do not see land within three days,
we will return to Spain.
Captain. There, now, — that's a fair promise !
Go now to your duties !
Columbus. And let every man watch for land
as he has never watched before!
Sailors (pleased). Aye, aye, sir!
[Sailors cross to a distant part of deck.]
Columbus (sadly). Alas for my plans and my
hopes, if these three days bring not land !
180 CHRISTOPHER COLUMBUS
[He talks aside vnih the Captain.]
First Sailor. We were too easily won over,
men.
Second Sailor (nodding) . Fearful things may
happen to us in these three days !
Third Sailor. Suppose we reach the edge
to-morrow !
Fourth Sailor. Suppose the sea-monster
should come for us to-night !
All Sailors. Aye ! Aye !
First Sailor (cautiously) . Come closer, men !
There's something I would say to you!
[Sailors close about him; Captain goes.]
First Sailor (pointing to Columbus^ who
stands in bow looking at the stars). Why should
he not fall into the seas to-night ?
Second Sailor. What ! You mean —
First Sailor. I mean he must fall into the
seas to-night. Are you with me, men ?
All Sailors. Aye! Aye!
First Sailor (cautiously). 'T is my plan to
push him over as he stands there looking at the
stars.
Fourth Sailor. Why not creep upon him
now?
CHRISTOPHER COLUMBUS 181
First Sailor. Are you willing, men, to have
the deed done now ?
All Sailors. Yes! Yes!
First Sailor (to Second and Third Sailors).
Come with me, you two! We 'U creep up on his
left.
[They creep upon Columbus y who is seen to
suddenly bend forward^ looking eagerly into the
distance.]
Columbus. Land! Land!
[Sailors stop; enter the Captain.]
Captain. Did you say land, sir ?
Columbus. Land, Captain, land! Come,
Sailors, come! Land! Land!
SaiIjORS (looking ; joy fully) . Land! Land!
Columbus (lifting his arms). Now Heaven
be praised!
Note to teacher. — This play conforms to the spirit of
the traditional story of Columbus, but the dramatization has
made it necessary to condense into one scene the somewhat
prolonged negotiations with Ferdinand and Isabella.
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EDITED BY
WILLIAM M. LAWRENCE
AND
O. BLACKMAN
Supervisor of Vocal Music in the Public Schools of Chicago,
A collection of 120 classic American poems set to standard music. Many
pertain to persons, places, and events which illustrate topics in United States
history, geography, and literature, as : A Ballad of the Boston Tea Party,
The Sword of Bunker Hill, etc. The accompaniments have been made sim-
ple, so that they may be easily played ; and m nearly all the two-part songs
the melody can be sung alone with good effect.
A Table of Contents gives historical notes about the poems or music, and
the dates of birth and death of the authors and composers. An Index of
Authors ; a Topical Index which shows the songs suitable for use on special
school days and festivals, as Holmes's Ode for Washington's Birthday, and
Whittier's For an Autumn Festival ; and an Index of Songs are also provided
HOUGHTON MIFTLIN COMPANY
4 Park St., Boston ; 85 Fifth Ave., New York
378-388 Wabash Ave., Chicago
FOR USE IN PRIMARY GRADES
Bertha Hazard's
THI^EE YEARS WITH THE POETS
247 pages. 50 cents, net^ postpaid.
A text book of poetry to be memorized by children during theii
first years in school, chosen with particular reference to their interests
in lessons and play. Aldrich, Eugene Field, Longfellow, Frank
Dempster Sherman, Stevenson, Tennyson, Whittier, and some 60
other poets are quoted. The grading of the selections has proved
practi(^ in classes under the compiler, who is the principal of Miss
Hazard's School, Boston; and the working plan, with its simple
show of purpose and system, readily appeals to children.
Samuel Eliot^s
POETRY FOR CHILDREN
327 pages. 80 cents, nety postpaid.
A collection designed to supplement the regular School Readers.
The arrangement is such as to make easy the comparison of verses
on similar subjects by various poets. Each of the poems is suitable
for memorizing.
Henry Cabot Lodgfe^s
BALLADS AND LYRICS
394 pages. $1.00, net^ postpaid.
Many of the finest poems of their kind in the language are in-
cluded in this book — from " Chevy Chase " to Emerson's " Concord
Hymn.** This collection is an excellent introduction to good poetry,
and helps to open to children the splendid and unbounded resources
of Enghsh literature.
Agfnes Repplier^s
BOOK OF FAMOUS VERSE
244 pages. 64 cents, mt^ postpaid.
This is one of the volumes in " The Riverside Library for Young
People." Many famous poems are here selected with an apprecia-
tion of the tastes, feelings, and desires of children. " To help a child
to the love of poetry,'' is Miss Repplier's motive in making thL«
collection.
HOUGHTON MIFFLIN CXDMPANY
4 Park St., Boston; 85 Fifth Ave., New York
378-388 Wabash Ave., Chicago
THE WEBSTER-COOLEY TEXT
BOOKS IN ENGLISH
WEBSTER-COOLEY LANGUAGE SERIES
The four following titles comprise a full treatment of the
subjects of language, grammar, and composition, arranged to
provide a book for a grade : —
Language Lessons from Literature. Book L By Alice
WooDWORTH CooLEY, Assistant Professor in Department
of Education, University of North Dakota, and recently
Supervisor of Primary Instruction in the Public Schools of
Minneapolis. i2mo, 196 pages, 45 cents, net.
Language Lessons from Literature. Book II. By Alice
Wood WORTH Cooley. i2mo, 390 pages, 65 cents, net. In
two parts, each, i2mo, 45 cents, net.
The Elements of English Grammar. By W. F. Webster,
Principal of the East High School, Minneapolis, Minn. 223
pages, 50 cents, net.
Elementary Composition. By W. F. Webster. 324 pages,
6s cents, net.
WEBSTER-COOLEY TWO-BOOK COURSES
Each of the two groups given below provides a briefer course
in the same subjects as the Series listed above. The mate-
rial in each of these two-book courses is identical, being simply
differently divided between the volumes.
Book One. Language Lessons from Literature. By Alice
W. Cooley and W. F. Webster. i2mo, 270 pages, 45
cents, net.
Book Two. Language, Grammar, and Composition. By
Alice Wood worth Cooley and W. F. Webster. i2mo,
385 pages, 60 cents, net.
Language Lessons from Literature. Complete in one Vol-
ume. By Alice W. Cooley. i 2mo, 395 pages, 60 cents, net.
The Elements of Grammar and Composition. By W. F.
Webster. i2mo, 265 pages, 55 cents, net.
WEBSTER'S ENGLISH
English : Composition and Literature. By W. F. Webster.
Crown 8vo, 318 pages, 90 cents, net.
HOUGHTON MIFFLIN COMPANY
BOSTON NEW YORK CHICAGO
808
ThiB textbook may be borrowed for
two weeke, with the privilege of renew-
ing it once, A flue of Ave cents a day ie
mcurred toy failure to return a book on
the date w^hen it is due*
The Education Library is open from
9 to 9 every week day except Saturday
when it closes at 6.
t
DUE
JAN 18 1327
DUE
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